Trevor Johnston

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For 84 reviews, this critic has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.9 points lower than other critics. (0-100 point scale)

Trevor Johnston's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Upstream Color
Lowest review score: 20 The Big Wedding
Score distribution:
  1. Positive: 26 out of 84
  2. Negative: 5 out of 84
84 movie reviews
    • 63 Metascore
    • 60 Trevor Johnston
    It’s all rather charming, though, since leading man Schilling remains affable while never underselling this kindly yet feckless dropout’s sheer spinelessness.
    • 52 Metascore
    • 60 Trevor Johnston
    There’s enough sly wit in the margins to engage the grown-ups and the whole thing conveys Christmas cheer without being overly cynical.
    • 51 Metascore
    • 60 Trevor Johnston
    Mirren’s performance movingly evokes the travails and rewards of seeking an accommodation with a nightmare past. Yet the clunky, often superficial movie around her tames the anger and anguish of memory in favour of a well-meaning but pat, feelgood ‘prestige’ product.
    • 78 Metascore
    • 60 Trevor Johnston
    Vikander’s spellbinding, not-quite-human presence (her synthetic skin is silky yet creepy) keeps us watching. But an only-too-obvious ‘twist’ and some clunky plotting...drain much of the credibility from a story which promised so much.
    • 47 Metascore
    • 60 Trevor Johnston
    Overall, excitement levels are moderate. But even if the film can’t match Hollywood for spectacle, there’s a sobering sense of the painful sacrifices and compromises facing those who toil in secret to keep us safe from harm.
    • 68 Metascore
    • 60 Trevor Johnston
    As a study in human greed this is shocking, but as this thorough, convincing, if slightly stodgy film makes clear, it’s also a moment to mobilise public opinion and shape change.
    • 68 Metascore
    • 60 Trevor Johnston
    The film showcases Lea Van Acken’s remarkable central performance and director Dietrich Brüggemann’s adept control of a deliberately rigorous aesthetic.
    • 66 Metascore
    • 60 Trevor Johnston
    It’s impressive but not dazzling.
    • 44 Metascore
    • 60 Trevor Johnston
    The film never works out how to generate genuine dramatic fire from its material. There are convincing performances and decorative retro detail to admire, but the heart needs to beat just that bit faster – and it doesn’t manage that.
    • 65 Metascore
    • 60 Trevor Johnston
    Ellis’s twisty plotting gets too clever-clever for its own good. But it’s pacy, engrossing, and Jake Macapagal’s turn as the plucky schmuck protagonist is stellar.
    • 48 Metascore
    • 60 Trevor Johnston
    It’s all put together with a crisp confidence that suggests its writer-director will swiftly move on to bigger things.
    • 54 Metascore
    • 60 Trevor Johnston
    For a while the film broaches genuinely unexpected comedic and emotional territory, and while matters eventually return to the safe haven of pat formula, at least there’s been some vim and vigour added to the amiable observational humour and likeable performances.
    • 58 Metascore
    • 60 Trevor Johnston
    Pioneer delivers insidious, shadowy tension, while it’s genuinely surprising to find yourself so engrossed – story glitches notwithstanding – in key issues like compression sickness and divers’ gas supply.
    • 51 Metascore
    • 60 Trevor Johnston
    Half of a Yellow Sun bravely takes on too broad a canvas with too narrow a budget, but it’s a relevant saga that’s worth telling.
    • 51 Metascore
    • 60 Trevor Johnston
    By far the film’s best move is casting some lovable veteran actors. Ellen Burstyn is adorable as Adaline’s daughter and Harrison Ford steals the show as an old-timer with an instinct for saying the wrong thing.
    • 53 Metascore
    • 60 Trevor Johnston
    Both actors are tremendous. Sy adds powerful dramatic shading to his usual irresistible charm, while Gainsbourg hints at a sunnier disposition beneath her volatile nervousness.
    • 61 Metascore
    • 60 Trevor Johnston
    It’s just a shame the film is slightly ragged, with a tendency to preach when there’s more than enough drama to get the point across. Still, it’s an important story, told with commitment.
    • 75 Metascore
    • 60 Trevor Johnston
    At its heart, is Danner’s lovely performance, vulnerable and smart behind the sarcastic façade, and sealed by a devastating karaoke performance of Cry Me a River that hints at the musical talent her character left behind in her youth.
    • 58 Metascore
    • 60 Trevor Johnston
    Gout’s ambition pays off in a climactic flourish. And the assault-and-battery of camera tricks captures Mexico’s head-spinning everyday madness.
    • 73 Metascore
    • 60 Trevor Johnston
    It’s all unexpectedly uninvolving.
    • 48 Metascore
    • 60 Trevor Johnston
    It’s all done with care and authentic Japanese locations, and is engrossing for anyone with an interest in the subject. But there’s scant drama as proceedings plod their way towards mutual understanding.
    • 51 Metascore
    • 60 Trevor Johnston
    There’s much over-egged mugging from the grown-ups (bumbling toff Richard Griffiths, shouty sarge John Lynch), but the lads are spot-on: young Mackay is effectively touching and bristling O’Connell hints at Next Big Thing charisma.
    • 78 Metascore
    • 60 Trevor Johnston
    Seidl gestures towards understanding rather than confrontation – turning in a slighter, softer-grained film than its predecessors, but no worse for it.
    • 61 Metascore
    • 60 Trevor Johnston
    We’re all set for sparks to fly, but unfortunately reality doesn’t quite live up to the set-up.
    • 66 Metascore
    • 60 Trevor Johnston
    The result isn’t as powerful as it should be. But it’s still cheering to see a film whose moral journey has little to do with the usual Hollywood chestnut of white middle-class consciousness-raising.
    • 77 Metascore
    • 60 Trevor Johnston
    Child’s Pose plays its thematic cards far too early, but it’s sustained by Gheorghiu’s compelling central turn as the endlessly self-deluding grande dame.
    • 52 Metascore
    • 60 Trevor Johnston
    The film plumbs no great depths. But it snappily combines frisky aerial action, a sprinkling of fairy dust and much cuddly bonding with the massive furball of the title.
    • 49 Metascore
    • 60 Trevor Johnston
    Not exactly arthouse, but as subtitled fluff goes, we’re talking première classe.

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