Oliver Lyttelton
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For 108 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Ex Machina
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 75 out of 108
  2. Negative: 12 out of 108
108 movie reviews
    • 65 Metascore
    • 83 Oliver Lyttelton
    As ever, Moretti creates a rich and incredibly detailed world, one where every character has a life that stretches far beyond their on-screen scenes.
    • 81 Metascore
    • 83 Oliver Lyttelton
    Best of all is the bad guy. Javier Bardem was always a tantalizing choice to play a Bond villain, and his Silva is a terrific creation, and certainly the most memorable villain in the series in decades.
    • 61 Metascore
    • 83 Oliver Lyttelton
    For all its abrasiveness, the film is also capable of real tenderness.
    • 89 Metascore
    • 83 Oliver Lyttelton
    Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.
    • 90 Metascore
    • 83 Oliver Lyttelton
    Though it has a few elements of its construction that might be questionable, it's mostly a powerful, thoughtful, and visually striking picture.
    • 68 Metascore
    • 83 Oliver Lyttelton
    Mostly, the film's very funny, Sono displaying a sense of how to frame and time a visual gag that feels positively Zucker-ish. But there are real stakes, and bursts of real feeling too.
    • 49 Metascore
    • 83 Oliver Lyttelton
    For most of the run-time, Welcome To The Punch is thrillingly cinematic, beautifully made, smarter and funnier than you'd expect, and a phenomenal showcase for Creevy and his team.
    • 71 Metascore
    • 83 Oliver Lyttelton
    22 Jump Street might not be quite as good as "21 Jump Street," but it's remarkably close, to the point where subsequent viewings could see it elevated above its predecessor.
    • 81 Metascore
    • 83 Oliver Lyttelton
    A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.
    • 76 Metascore
    • 83 Oliver Lyttelton
    Never, for one second, is Vikander anything less than entirely truthful.
    • 67 Metascore
    • 83 Oliver Lyttelton
    The film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker.
    • 63 Metascore
    • 83 Oliver Lyttelton
    Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.
    • 69 Metascore
    • 83 Oliver Lyttelton
    The book is so counter to our contemporary narrative demands that liberties would need to be taken for a movie version, and for the most part Osborne takes the right liberties, ending up with an extremely beautiful, very charming, thematically rich take that’s sure to be one of the better animated movies this year.
    • 62 Metascore
    • 83 Oliver Lyttelton
    It won't change the face of cinema history, and it won't win any awards (it's too downright dirty for that), but it's furiously entertaining, and a very strong piece of drama from a director who hasn't much luck in the last thirty-odd years.
    • 65 Metascore
    • 75 Oliver Lyttelton
    Even if it doesn't quite stick the landing, there's a lot to like here; it's a fundamentally decent, very well-acted and cannily written film.
    • 78 Metascore
    • 75 Oliver Lyttelton
    The film’s undoubtedly a gorgeous look at the Australian outback, but those looking for deeper nourishment will be left a touch disappointed.
    • 63 Metascore
    • 75 Oliver Lyttelton
    Midnight movie programmers of the future will undoubtedly give it a long life years after it’s gone from first-run theaters.
    • 73 Metascore
    • 75 Oliver Lyttelton
    It's an ambitious attempt to meld the kind of social realism that made the names of Andrea Arnold and Clio Barnard with a stripped-down genre thriller, an attempt that's only moderately successful, though it suggests Wolfe is a filmmaker of real promise.
    • 65 Metascore
    • 75 Oliver Lyttelton
    It's fascinating, warm and immensely watchable stuff, and fans of both Jackson and pop music in general will surely eat the film up.
    • 76 Metascore
    • 75 Oliver Lyttelton
    There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.
    • 61 Metascore
    • 75 Oliver Lyttelton
    As a portrait of a legitimately fascinating unlikely superstar, the film really works.
    • 75 Metascore
    • 75 Oliver Lyttelton
    Godard's full length take on 3D is bold, brilliant and exactly what the format needed — a iconoclast taking it and making his own, and almost every time he frames a shot in three dimensions, from opening credits to the final moments, there's something attention-grabbing going on.
    • 62 Metascore
    • 75 Oliver Lyttelton
    For all the film's flaws, Black brings enough to the table that it's far from a chore, and if this level of ingenuity and surprise can be maintained, there'll be no need for Tony to hang up his Iron Man helmet any time soon.
    • 60 Metascore
    • 75 Oliver Lyttelton
    Powerful, engaging and, by the finale, moving. And in the end, At Any Price is certainly one of the most impressive reactions to the recent economic crisis (because that’s exactly what it is) that cinema has produced so far.
    • 71 Metascore
    • 75 Oliver Lyttelton
    It's certainly his best film.
    • 53 Metascore
    • 75 Oliver Lyttelton
    Has more than its share of flaws, but it also gets its balance of tones right, proving spooky, involving and occasionally resonant, while still managing to bring something new to a well-worn tale, and providing a terrific lead part for one of the most promising actresses of her generation.
    • 77 Metascore
    • 75 Oliver Lyttelton
    It's crisply and cleanly shot throughout, and the filmmaker shows a rare feel for how to not only make comedy land, but also to make it actually feel cinematic too.
    • 68 Metascore
    • 75 Oliver Lyttelton
    Queen & Country is hardly reinventing the wheel, but it's charming, evocative and (mostly) well-performed, and were Boorman to continue with his autobiographical cycle, we'd certainly welcome further installments.
    • 68 Metascore
    • 75 Oliver Lyttelton
    While it’s an awkward, uneven picture, that doesn’t mean that it isn’t a fascinating one.
    • 54 Metascore
    • 67 Oliver Lyttelton
    It is overlong, and familiar, and never quite hits top gear -- it's never especially bad, but neither is it especially excellent, beyond the visual wow factor. But there's still a lot to admire in the film, not least that it's engaging from the first moment to the last.

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