For 82 reviews, this critic has graded:
  • 40% higher than the average critic
  • 7% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Tom Huddleston's Scores

  • Movies
Average review score: 64
Lowest review score: 20 Closed Circuit
Score distribution:
  1. Positive: 29 out of 82
  2. Negative: 2 out of 82
82 movie reviews
    • 99 Metascore
    • 100 Tom Huddleston
    It’s the most haunted and dreamlike of all American films, a gothic backwoods ramble with the Devil at its heels.
    • 75 Metascore
    • 100 Tom Huddleston
    At once an investigation, a polemic and, in its final sequences, a tribute to human endurance. A remarkable film.
    • 80 Metascore
    • 100 Tom Huddleston
    This is quite simply one of the saddest movies ever made, a tale of loss, grief and absolute loneliness, an unflinching stare into the darkest moral abyss.
    • 97 Metascore
    • 100 Tom Huddleston
    What 12 Years a Slave is really interested in is creating an honest, believable experience: in culture and context, place and people, soil and skin. The result can, at times, be alienating.
    • 93 Metascore
    • 100 Tom Huddleston
    It’s one of the most insightful films ever made about the British class system.
    • 61 Metascore
    • 80 Tom Huddleston
    Role Models isn’t trying to reinvent the wheel, just polish it up a little. What emerges is a memorable slice of modern slapstick, with charm to spare and just a touch of soul.
    • 72 Metascore
    • 80 Tom Huddleston
    It’s infuriatingly irresistible.
    • 96 Metascore
    • 80 Tom Huddleston
    This isn’t just the best-looking film of the year, it’s one of the most awe-inspiring achievements in the history of special-effects cinema. So it’s a shame that – as is so often the case with groundbreaking effects movies – the emotional content can’t quite match up to the visual.
    • 82 Metascore
    • 80 Tom Huddleston
    The LEGO Movie is sheer joy: the script is witty, the satire surprisingly pointed and the animation tactile and imaginative.
    • 79 Metascore
    • 80 Tom Huddleston
    It may lack its predecessor’s lofty ambitions, but once the bullets, spears and hairy fists start flying you’ll be too wrapped up to care.
    • 81 Metascore
    • 80 Tom Huddleston
    This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.
    • 68 Metascore
    • 80 Tom Huddleston
    An enormously satisfying film: carefully observed and consistently compelling, it feels like an instant American classic, if a minor one.
    • 75 Metascore
    • 80 Tom Huddleston
    Scorsese never digs too deeply under the skin of these reprehensible playboy douchebags, and there are times where the swooping photography, smash-and-grab editing and toe-tapping soundtrack conspire to almost – almost – make us like them. But when the film’s cylinders are firing, it’s impossible not to be dragged along.
    • 73 Metascore
    • 80 Tom Huddleston
    With gorgeously crisp photography and pitch-perfect performances from the two leads, this is one of the most intriguing and thoughtful American films of the year.
    • 74 Metascore
    • 80 Tom Huddleston
    Low key and occasionally frustrating it may be, but Computer Chess is a supremely intelligent, beautifully constructed film, interweaving comedy and character, satire and subtext, and loaded with more ideas than some filmmakers manage in a lifetime.
    • 80 Metascore
    • 80 Tom Huddleston
    Abrahamson has pulled off something quietly remarkable: a study of morality which never feels like a treatise, a bracingly realistic film about teenagers which never becomes patronising and a gripping melodrama which swerves sentiment. He may also have unearthed a genuine star.
    • 80 Metascore
    • 80 Tom Huddleston
    Berberian Sound Studio is like nothing before – and whether or not it ‘works’ seems almost irrelevant. In this era of cookie-cutter cinema, Strickland’s deeply personal moral and stylistic vision deserves the highest praise.
    • 73 Metascore
    • 80 Tom Huddleston
    This is a film built on sensation, misdirection and randomness. The result can be maddeningly obtuse, but it’s also breathtakingly lovely and genuinely unsettling.
    • 68 Metascore
    • 80 Tom Huddleston
    The result is entertaining and insightful, balancing cold statistics with real-life stories of success and tragedy, presenting a broad, clear-eyed view of an increasingly complex issue.
    • 87 Metascore
    • 80 Tom Huddleston
    We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.
    • 75 Metascore
    • 80 Tom Huddleston
    This is a woman who has been through hell and come out kicking, and the result is as much a celebration of her life as it is a documentary.
    • 73 Metascore
    • 80 Tom Huddleston
    Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.
    • 80 Metascore
    • 80 Tom Huddleston
    A startling examination of how artistic principles translate into real-world actions, and a moving portrait of a genuinely, unexpectedly brave man.
    • 89 Metascore
    • 80 Tom Huddleston
    Ida
    Pawlikowski’s film may be bleak and unforgiving, but it’s also richly sympathetic and deeply moving.
    • 62 Metascore
    • 60 Tom Huddleston
    It’s undeniably entertaining – and worth seeing for Kingsley alone – with the misfires never fully overshadowing the moments of glory.
    • 61 Metascore
    • 60 Tom Huddleston
    This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.
    • 64 Metascore
    • 60 Tom Huddleston
    If Del Toro is pitching for an audience of 12-year-old boys (and we do mean boys: this is old-school macho), he’s done a bang-up job. Still, there are times when Pacific Rim could be the work of any jobbing Hollywood director – the warmth and idiosyncracy that characterises Del Toro’s finest work, from Pan’s Labyrinth to Hellboy 2, is absent.
    • 54 Metascore
    • 60 Tom Huddleston
    This is a deeply silly, extremely noisy and sometimes impenetrable action movie that’s drowning in CGI, wild overacting and mullets. And it’s enormously entertaining.
    • 53 Metascore
    • 60 Tom Huddleston
    An overlong, at times almost plot-free soap opera that introduces a wealth of characters and dips into a wide variety of subplots but never comes together as a story.
    • 51 Metascore
    • 60 Tom Huddleston
    It falters once the actual war begins: Ben Kingsley shows up as a Maori warrior with the weirdest imaginable accent, the final battle is uninvolving, and there’s an unconvincing upbeat coda. Ender’s Game ends up being fitfully engaging and endearingly odd.
    • 52 Metascore
    • 60 Tom Huddleston
    This is a slicker, shinier, admittedly inferior affair. But with a strong cast, a roaring pace and at least one genuinely unforgettable scene, it’s by no means a write-off.
    • 67 Metascore
    • 60 Tom Huddleston
    No comedy classic, then, but a good natured and engaging slice of goonish self-mockery.
    • 52 Metascore
    • 60 Tom Huddleston
    The outcome may be pre-ordained, but Emmerich’s knack for a witty pop-culture reference, a pulse-pounding gun battle or a sneaky political undercurrent (the film has drawn fire in the US for being leftie propaganda) hasn’t deserted him.
    • 49 Metascore
    • 60 Tom Huddleston
    The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.
    • 45 Metascore
    • 60 Tom Huddleston
    The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.
    • 61 Metascore
    • 60 Tom Huddleston
    Anchorman 2: The Legend Continues is not the disaster some feared it might be, but neither is it the endlessly quotable, deliciously idiotic follow-on so many of us were optimistically anticipating.
    • 54 Metascore
    • 60 Tom Huddleston
    Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),
    • 58 Metascore
    • 60 Tom Huddleston
    If you enjoy improbable plot twists, overcooked dialogue and Hollywood legends champing on scenery, this adaptation is a highly entertaining slice of American Gothic.
    • 49 Metascore
    • 60 Tom Huddleston
    This sequel suffers from the same lack of quality control that plagued the first film.
    • 82 Metascore
    • 60 Tom Huddleston
    For all its humanistic warmth and undoubted charm, Short Term 12 just never quite rings true.
    • 71 Metascore
    • 60 Tom Huddleston
    22 Jump Street knows how to play to its strengths: Tatum’s performance here is even more puppy-dog lovable than last time, and his scenes with Hill possess a goofy, low-key warmth too often lacking in big-budget comedy.
    • 37 Metascore
    • 60 Tom Huddleston
    This is an unambitious, old-school thriller, nothing more and nothing less.
    • 66 Metascore
    • 60 Tom Huddleston
    The film has plenty to recommend it, thanks to a string of memorable one-liners and Coogan’s unmatched knack for skin-crawling physical comedy. But this is a long way from the back-of-the-net strike it should have been.
    • 62 Metascore
    • 60 Tom Huddleston
    It’s always fun to watch scaly, skyscraper-size behemoths lay waste to civilization, but a bit more human drama wouldn’t have gone amiss.
    • 62 Metascore
    • 60 Tom Huddleston
    Willow Creek doesn’t take us anywhere new – the climax is abrupt and unsatisfying – but it’s a whole lot of jarring, juddering fun while it lasts.
    • 75 Metascore
    • 60 Tom Huddleston
    As a procedural study, Night Moves is undeniably effective: The buildup is slow, painstaking and intense, the fallout inevitable but still shocking...But the soul is somehow missing.
    • 59 Metascore
    • 60 Tom Huddleston
    The film does approach Milius with a certain reverence, but it can’t disguise the fact that he’s a troubling, divisive figure: bull-headed, almost cartoonishly macho, staunchly right-wing and dangerously self-obsessed.
    • 62 Metascore
    • 60 Tom Huddleston
    There’s something rather bland about Veronica Mars – even the murderers have neat hair and nice clothes – and the largely forgettable cast don’t help. But the one-liners are sharp, the plot unpredictable and the whole thing ticks along with a minimum of fuss.
    • 51 Metascore
    • 60 Tom Huddleston
    As with all of West’s work this is a good-looking, well acted film shot through with moments of real power, but its conventionality is troubling.
    • 77 Metascore
    • 60 Tom Huddleston
    The result is a film that starts with a bang and ends with a shrug, but keeps us entertained throughout.
    • 71 Metascore
    • 60 Tom Huddleston
    There’s a lack of subtlety or surprise which serves the story poorly... That said, it’s a thoughtful, timely, often quietly captivating drama.
    • 76 Metascore
    • 60 Tom Huddleston
    There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.
    • 68 Metascore
    • 60 Tom Huddleston
    A little too rough around the edges to fully engage.
    • 74 Metascore
    • 60 Tom Huddleston
    It’s disappointing when Starred Up begins to lapse into soapy cliché.
    • 66 Metascore
    • 60 Tom Huddleston
    Much of the film's impact stems from a pair of remarkable lead performances.
    • 59 Metascore
    • 60 Tom Huddleston
    The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
    • 66 Metascore
    • 60 Tom Huddleston
    First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.
    • 45 Metascore
    • 60 Tom Huddleston
    There’s plenty to enjoy – a handful of smart one-liners, a few nifty shocks and one truly unsettling confrontation in a cemetery – but nothing to give Joss Whedon a run for his money.
    • 72 Metascore
    • 60 Tom Huddleston
    The film’s blanket refusal to question its subject feels not only cowardly, but antithetical.
    • 40 Metascore
    • 40 Tom Huddleston
    With some dire blue-screen effects, dizzying tonal instability and a total absence of suspense or originality, "Wolverine" is something of a disaster.
    • 37 Metascore
    • 40 Tom Huddleston
    The Lone Ranger is content to simply pull another western trope out of the bag – the honky-tonk whorehouse, the ranch raid, the cavalry charge – give it a CGI spit-and-polish, and chuck it in the general direction of the audience. The result is frustrating, lazy and lifeless.
    • 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
    Escape Pla’ would have made a perfect vehicle for, say, a Chuck Norris or even a Jean-Claude Van Damme. But these two redoubtable, enormously watchable old-school heroes deserve better.
    • 57 Metascore
    • 40 Tom Huddleston
    The film overdoes it with the awkward, unconvincing re-enactments, many starring the director himself. The result will amuse hardcore Cash fans, but few others.
    • 49 Metascore
    • 40 Tom Huddleston
    The aliens are unscary and easily despatched, Vin’s too silent to be interesting, and the other characters – a gang of bounty hunters on Riddick’s trail – are either dull or offensive.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 40 Tom Huddleston
    As ever with this series, the shocks are cheap but effective, and the shaky-cam aesthetic adds an unsettling layer of realism (if you’re willing to overlook the innate ridiculousness of the film-everything concept).
    • 42 Metascore
    • 40 Tom Huddleston
    This is tame, lifeless stuff.
    • 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.
    • 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.
    • 69 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.
    • 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
    • 51 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.