Tom Huddleston
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For 116 reviews, this critic has graded:
  • 38% higher than the average critic
  • 6% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Tom Huddleston's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 It Follows
Lowest review score: 20 Percy Jackson: Sea of Monsters
Score distribution:
  1. Positive: 33 out of 116
  2. Negative: 4 out of 116
116 movie reviews
    • 42 Metascore
    • 40 Tom Huddleston
    This is tame, lifeless stuff.
    • 51 Metascore
    • 40 Tom Huddleston
    A potentially gripping study of the fallout from the JFK assassination as experienced by his doctors, secret service agents and the man who famously photographed the incident is rendered tame by a combination of flat writing and overly busy storytelling.
    • 56 Metascore
    • 40 Tom Huddleston
    It’s a shame, because there’s a good, solid documentary to be made about this fascinating, enormously talented, slightly self-congratulatory little man and his unmistakeable ouevre.
    • 59 Metascore
    • 40 Tom Huddleston
    This feature-length Mr Peabody and Sherman is by no means unbearable: there are a few decent gags, and the episodic plot just about manages to hold the interest. But there’s little here for any but the most easy-to-please youngsters.
    • 49 Metascore
    • 40 Tom Huddleston
    When the best one can say about a movie is that it’s pyrotechnically impressive, something important is missing. In this case it’s tension, originality and memorable characters.
    • 70 Metascore
    • 40 Tom Huddleston
    This microbudget indie about a pair of brothers in small-town USA looks great, sports strong performances and doesn’t outstay its welcome. But it’s impossible to shake the feeling that we’ve seen all this before, and better.
    • 42 Metascore
    • 40 Tom Huddleston
    There’s too much story to cram into one film, with the result that the three surly teenagers themselves – who would have made far more compelling central characters – are pushed to the side. And with their own legal team surely keeping a close watch, Egoyan and his scriptwriters are unable to point fingers in any meaningful way. A missed opportunity.
    • 40 Metascore
    • 40 Tom Huddleston
    Psychologists would doubtless have a field day with the film’s lumpy brew of semi-incestuous paternal angst, midlife machismo, all-American dick-swinging and moderate racism, but we imagine most of them are too busy to waste two hours on this sludge.
    • 47 Metascore
    • 40 Tom Huddleston
    Strap on your swordbelt, buckle your sandals and oil up your rippling six-pack, because here comes yet another interminable, CGI-drenched mythic mish-mash with far more money than brain cells.
    • 66 Metascore
    • 40 Tom Huddleston
    Extreme cinema aficionados will doubtless get major kicks from Moebius. For others, the cumulative shocks are likely to induce weariness and boredom.
    • 35 Metascore
    • 40 Tom Huddleston
    Thank the gods of war for Antonio Banderas, who single-handedly steals (and almost saves) the show as a loquacious assassin.
    • 45 Metascore
    • 40 Tom Huddleston
    The soundtrack is crammed with ’60s and ’70s pop gems – several of them instantly familiar from Scorsese’s movies – while the colour palette is all muted corduroy brown and rainy urban grey. The result is less a homage than a slavish, overproduced cover version, lacking all the spark and integrity of the original.
    • 57 Metascore
    • 40 Tom Huddleston
    A Walk Among the Tombstones is well paced and fairly watchable, but it does take itself desperately seriously.
    • 62 Metascore
    • 40 Tom Huddleston
    With solid performances from all three leads and lovely twilight photography, the stage is set for a heartfelt coming-of-age drama – but the dire script has other ideas.
    • 38 Metascore
    • 40 Tom Huddleston
    Extraterrestrial doesn’t amount to much beyond a mish-mash of movies we’ve seen before.
    • 51 Metascore
    • 40 Tom Huddleston
    Everyone here deserves better.
    • 24 Metascore
    • 40 Tom Huddleston
    This enjoyable-despite-itself horror flick has precisely nothing new to offer - with the arguable exception of a monster in a miniskirt, which may be a first.
    • 42 Metascore
    • 40 Tom Huddleston
    It quickly devolves into predictable shock tactics, drippy wartime romance and scenes in which the characters leaf tremulously through Victorian photo albums and spout exposition.
    • 27 Metascore
    • 40 Tom Huddleston
    Contrary to appearances, Mortdecai isn’t a total disaster: Depp may be suffering the most catastrophic career slump since Eddie Murphy said yes to Norbit, but he’s still perfectly watchable.
    • 28 Metascore
    • 40 Tom Huddleston
    Overall this is dull, derivative, murky stuff, full of running and shouting but never really going anywhere.
    • 35 Metascore
    • 40 Tom Huddleston
    The plot’s old, the title’s borrowed and the jokes are blue – but there’s nothing remotely new in this wearying bromantic comedy.
    • 30 Metascore
    • 40 Tom Huddleston
    Props to director Rob Cohen for making a gender-flipped 'Fatal Attraction’. But The Boy Next Door really should be a lot juicier.
    • 40 Metascore
    • 20 Tom Huddleston
    Drab, silly and mind-numbing, this Dracula is strictly for the suckers.
    • 39 Metascore
    • 20 Tom Huddleston
    There’s really nothing to recommend ‘Sea of Monsters’: the young cast are smug and forgettable; the action sequences barely get going before they’re over; and the whole affair is riddled with product placement and pop cultural references – one girl even seems to possess a magic iPad. Keep the kids at home
    • 50 Metascore
    • 20 Tom Huddleston
    How Knight and Crowley managed to persuade such upstanding actors – not to mention Jim Broadbent, Anne-Marie Duff, Ciaran Hinds and Riz Ahmed – to take part in this fiasco is destined to remain a mystery. Tinker, Tailor, Soldier, Trite.
    • 55 Metascore
    • 20 Tom Huddleston
    That a film in 2014 can still get away with depicting all women as either dumb, hapless sluts or ball-busting harridans is frankly unbelievable.

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