Oliver Lyttelton

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For 133 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 5.8 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Leviathan
Lowest review score: 0 The Sea of Trees
Score distribution:
  1. Positive: 85 out of 133
  2. Negative: 13 out of 133
133 movie reviews
    • 62 Metascore
    • 58 Oliver Lyttelton
    It ends up feeling like going to a festival headlining date by a reunited Britpop band. It’s great to see them back together, they look pretty good for their age, and there are transcendent moments when they play the hits. But the set goes on a bit long, and the new material’s a bit forgettable, and they’re sloppier than they used to be, and in the end, you start to wonder if it had been better if you’d been left with your memories from back in the day.
    • 61 Metascore
    • 58 Oliver Lyttelton
    While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
    • 75 Metascore
    • 58 Oliver Lyttelton
    Lord knows the superhero genre could use some fun poked at it and we were psyched to see the film, but while there’s some fun to be had, it can’t help but feel like a missed opportunity.
    • 72 Metascore
    • 58 Oliver Lyttelton
    The film contains some memorable moments, and a pair of fine performances, but it’s hard not to feel that it would have proved more successful if it had stayed on the path it was heading down for the first forty minutes or so.
    • 72 Metascore
    • 58 Oliver Lyttelton
    Star Trek Into Darkness is a long, long way from a disaster, but it's hard not to feel that Abrams' mystery box turned out to be a bit empty this time out.
    • 70 Metascore
    • 50 Oliver Lyttelton
    There are moments of beauty and charm, but also ones that felt rather broad, like an extract from a live-action Disney movie or something. It is fitfully interesting, but nearly broke our twee detectors.
    • 60 Metascore
    • 50 Oliver Lyttelton
    It’s never a painful watch, more of a faintly dull, seen-it-all-before one. If nothing else, it’s evidence that these days, being based on a true story isn’t enough to elevate a film in a well-worn genre ahead of the pack.
    • 54 Metascore
    • 50 Oliver Lyttelton
    A film that is enjoyable in spots, but haphazard and ultimately unsatisfying.
    • 60 Metascore
    • 50 Oliver Lyttelton
    It’s an engaging film in many respects, but one that exemplifies a lot of the problems that have trailed Zemeckis across his career.
    • 59 Metascore
    • 50 Oliver Lyttelton
    Bercot's setting out to make both a character study of a troubled young man wasting his potential, and an examination of a system trying desperately to do right by its charges, despite the immense difficulties and occasional bureaucratic red tape that tie their hands. It's more successful at the latter than at the former.
    • 48 Metascore
    • 50 Oliver Lyttelton
    There is genuine warmth and heart to the central relationship, and the script is occasionally funny, though it draws smiles more than laughs. But it's hard to see, beyond the gender swap, what LaBruce is saying here that Hal Ashby didn't cover more definitively four decades ago.
    • 66 Metascore
    • 50 Oliver Lyttelton
    Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.
    • 52 Metascore
    • 50 Oliver Lyttelton
    As well-handled as the set pieces are, the connective tissue doesn’t pull you along, and then collapses completely in a messy, unsatisfying final act.
    • 62 Metascore
    • 50 Oliver Lyttelton
    It'll pass a couple of hours on a rainy afternoon without too much trouble. But whether as an adventure tale, a thriller, or a morality play, Black Sea never quite makes a compelling enough case for its existence when better examples of the submarine genre are already out there.
    • 69 Metascore
    • 50 Oliver Lyttelton
    From a procedural perspective, the film is an insightful look into the life of a Secretary Of Defense, but as an exploration into how the war in Iraq was allowed to happen, it’s much, much less satisfying
    • 64 Metascore
    • 50 Oliver Lyttelton
    Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.
    • 60 Metascore
    • 50 Oliver Lyttelton
    The humor is there on paper, but it ends up emptily quippy and gag-filled rather deriving the jokes from situations and character, and only one in three end up landing, mostly thanks to Robbins.
    • 48 Metascore
    • 50 Oliver Lyttelton
    Avery can't commit to whether he's making a gritty "Animal Kingdom"-style crime picture, or a light caper film, and the final result is wonky in the extreme, particularly in the conclusion, which feels particularly muddled.
    • 65 Metascore
    • 50 Oliver Lyttelton
    There are elements of The Boy And The Beast that undoubtedly reinforce the promise that Hosoda holds: it’s a treat to look at, is inventive in spots, and will probably be eaten up by younger viewers. But it ultimately proves both narratively unsatisfying and emotionally lacking.
    • 42 Metascore
    • 42 Oliver Lyttelton
    Given the talent assembled, the emptiness at its center only makes it feel like more of a waste. But it does look great, it does sound great (the score, by "Drive" soundtrack contributor Johnny Jewel, is one of the film's best elements), and can be fitfully interesting.
    • 59 Metascore
    • 42 Oliver Lyttelton
    A film as mercurial as this can be an impressive thing, but the back half is so filled with half-baked metaphysics, pseudo-Lynchian maybe-dreams, and a sour, cheap conclusion that feels nihilistically cruel to at least one of its characters, that even the pleasures of watching the actors on screen start to fade away.
    • 53 Metascore
    • 42 Oliver Lyttelton
    Jeunet occasionally reminds you why he was once considered one of the most exciting names in world cinema. But for the most part, it’s another visually interesting, somewhat hollow misfire.
    • 35 Metascore
    • 42 Oliver Lyttelton
    There’s very little in The Huntsman: Winter's War itself that is actively bad. Compared to some of its blockbuster rivals, it’s reasonably watchable, never offensive, and mostly coherent.
    • 60 Metascore
    • 42 Oliver Lyttelton
    Unfortunately, it proves to be as disposable as the snack it revolves around.
    • 56 Metascore
    • 42 Oliver Lyttelton
    The bad news, for anyone over the age of eight, is that it’s at its best disposable, and at its worst really, really annoying.
    • 60 Metascore
    • 42 Oliver Lyttelton
    In general, this feels like a film patched together out of endless hastily-drafted script rewrites rather than a cohesive vision.
    • 53 Metascore
    • 42 Oliver Lyttelton
    Unfortunately, while Husson clearly has talent to burn, her film is something of a case of all talk and no trousers.
    • 67 Metascore
    • 42 Oliver Lyttelton
    Bidegain certainly scores points for ambition with his first film, and in scenes or snippets...you can see what he was aiming for. Unfortunately, by the time it’s done, Les Cowboys feels like a missed opportunity.
    • 69 Metascore
    • 42 Oliver Lyttelton
    There are pleasures to be found in "Chicken with Plums" to be certain, but we'd hope for something a little more satisfying next time out from the directing team.
    • 79 Metascore
    • 42 Oliver Lyttelton
    Burshtein has devoted most of the last 20 years teaching and making film in that world, but here makes her international feature debut with a curious comedy-drama that has its strengths, but ultimately proves somewhat disappointing.

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