For 39 reviews, this critic has graded:
  • 43% higher than the average critic
  • 7% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 9.3 points higher than other critics. (0-100 point scale)

Tom Dawson's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 80 Gloria
Lowest review score: 40 Café de Flore
Score distribution:
  1. Positive: 22 out of 39
  2. Negative: 0 out of 39
39 movie reviews
    • 82 Metascore
    • 80 Tom Dawson
    Closer in metaphysical spirit to Kiarostami than to Leone, it lingers thanks to beautifully lit widescreen images of lived-in faces and barren, beautiful landscapes.
    • 90 Metascore
    • 80 Tom Dawson
    Drawing on revealing clips from Panahi's previous films, TINAF reveals not only the realities of artistic censorship, but its firework-laden finale shows how cinema thrives on spontaneity.
    • 82 Metascore
    • 80 Tom Dawson
    Kaurismäki adeptly weaves rockabilly musical interludes, a stylised colourscheme and droll performances into a warm-hearted salute to both classical French cinema and working-class solidarity.
    • 72 Metascore
    • 80 Tom Dawson
    This is a chilling portrayal of a deeply unsympathetic protagonist.
    • 80 Metascore
    • 80 Tom Dawson
    Some will find Camille too self-absorbed, yet writer/director Mia Hansen-Løve (Father Of My Children) conjures poignancy, grace and a feel for symbolic seasonal change that's positively Renoir-esque.
    • 65 Metascore
    • 80 Tom Dawson
    With echoes of the Dardennes and Lucrecia Martel, Corpo Celeste's acute sense of place, feel for adolescent confusion and miraculous resolution suggest that Rohrwacher is a talent to watch.
    • 67 Metascore
    • 80 Tom Dawson
    Heartfelt and inventive, this documentary from exiled director Ali Samadi Ahadi chronicles Iran's abortive Green Revolution during the summer of 2009.
    • 81 Metascore
    • 80 Tom Dawson
    The strong supporting gallery - including Gillian Anderson and Martin Compston - feels underused, but Meier and her ace DoP Agnès Godard make shrewd use of the dramatic alpine locations.
    • 87 Metascore
    • 80 Tom Dawson
    Backed by a sparing Philip Glass score, Elena eloquently shows how, in modern Russia, even family relationships are at the mercy of business.
    • 76 Metascore
    • 80 Tom Dawson
    This oblique and understated tale of lost innocence conveys both an individual’s experiences and a powerful sense of a ruined nation.
    • 77 Metascore
    • 80 Tom Dawson
    “Ever since I discovered art,” laments one participant, “this cell has truly become a prison.”
    • 79 Metascore
    • 80 Tom Dawson
    Arduous yet always absorbing, Cristian Mungiu’s first full-length feature since 4 Months, 3 Weeks, 2 Days is inspired by a real-life case of a tragically botched exorcism in rural Romania.
    • 76 Metascore
    • 80 Tom Dawson
    The film belongs to Arena, outstanding as a man growing ever more delusional in his quest to acquire celebrity status.
    • 72 Metascore
    • 80 Tom Dawson
    It’s strong on the details of itinerant life, and allows plotting to take a back seat to character.
    • 77 Metascore
    • 80 Tom Dawson
    You’re left marvelling at London’s capacity for renewal and reinvention.
    • 61 Metascore
    • 80 Tom Dawson
    Laying bare his characters, Seidl uncovers the doubt beneath the armour of religious belief.
    • 84 Metascore
    • 80 Tom Dawson
    Blurring documentary/fiction boundaries, writer/director Jem Cohen’s film is deceptively simple.
    • 83 Metascore
    • 80 Tom Dawson
    Sticking tightly to its heroine’s everyday routines and rituals, this deft blend of humour and pathos fully earns its defiantly upbeat dance-floor denouement.
    • 42 Metascore
    • 80 Tom Dawson
    Writer/director Christopher Payne paints a credible portrait of life as a professional hoofer. But the leads struggle with an undernourished script, and there’s a cheapo televisual vibe throughout.
    • 78 Metascore
    • 80 Tom Dawson
    Against the odds this is a sometimes droll and surprisingly tender affair, and a fitting end to Seidl’s magnum opus.
    • 82 Metascore
    • 80 Tom Dawson
    In long, static takes, Hogg calmly exposes the gulf between polite facades and repressed resentments.
    • 38 Metascore
    • 80 Tom Dawson
    Impressively designed throughout, The Unbeatables also keeps the laughs kicking.
    • 57 Metascore
    • 60 Tom Dawson
    Contrived attempts to 'explain' the film's many mysteries ultimately disappoint.
    • 71 Metascore
    • 60 Tom Dawson
    Familiar territory, especially if you've seen "Hoop Dreams" and "Friday Night Lights," but the intimate style offers its own rewards.
    • 63 Metascore
    • 60 Tom Dawson
    Thorough if workmanlike documentary.
    • 55 Metascore
    • 60 Tom Dawson
    Alex Beaupain's songs effectively convey emotion, but Beloved doesn't scale the heights of the Truffaut and Demy films it pastiches.
    • 71 Metascore
    • 60 Tom Dawson
    Built around a multilayered performance from Duris, it's a film unafraid to pose more questions than it answers.
    • 79 Metascore
    • 60 Tom Dawson
    Keep The Lights On feels lopsided in its focus on Erik, with Paul remaining a strangely remote object of the former's romantic devotion.
    • 66 Metascore
    • 60 Tom Dawson
    This is a perceptive, warm-hearted work, anchored by Knoller's impressively less-is-more performance.
    • 67 Metascore
    • 60 Tom Dawson
    Writer/director Trapero arguably crams too much into the film’s running time, but potent turns and Michael Nyman’s yearning score are among the compensations.
    • 65 Metascore
    • 60 Tom Dawson
    Though it covers similar thematic ground to Laurent Cantet’s haiti-set "Heading South," Seidl’s gruelling film proves his knack for leaving viewers emotionally discomfited.
    • 57 Metascore
    • 60 Tom Dawson
    No prizes for guessing who ends up with whom, but the colourful retro designs and the leads’ sparkling chemistry help to Tipp-Ex over some of the predictability.
    • 77 Metascore
    • 60 Tom Dawson
    The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.
    • 54 Metascore
    • 60 Tom Dawson
    The director paints a partisan picture, but offers an eloquent and effective challenge to orthodox eco-wisdom.
    • 73 Metascore
    • 60 Tom Dawson
    Although a bit over-neat in its contrasts between the respective families, Like Father, Like Son remains an affecting film, thanks to Fukuyama’s understated turn and Koreeda’s typically graceful visual storytelling.
    • 53 Metascore
    • 40 Tom Dawson
    Beneath the surface panache lies an overlong, emotionally shallow study of so-called 'twin flames', possible reincarnation and learning to let go of love.
    • 58 Metascore
    • 40 Tom Dawson
    Sweeping landscape shots and the reliable presence of Sergi López, here playing a scarred private investigator, can’t distract from the clichés of a particularly dim-witted script.
    • 36 Metascore
    • 40 Tom Dawson
    Sophie Lellouche’s slick debut is chock-full of Woody-com quotes and references, yet it remains an inconsequential, undernourished trifle that does sod-all with its potential.
    • 43 Metascore
    • 40 Tom Dawson
    Greater female input might have alleviated the film’s tiresome chauvinism.

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