CineVue's Scores

  • Movies
For 399 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Star Wars: Episode VII - The Force Awakens
Lowest review score: 20 Postman Pat: The Movie
Score distribution:
  1. Negative: 12 out of 399
399 movie reviews
  1. Slaboshpitsky's The Tribe is gripping, tour de force cinema from its opening jab, and from there it continually forces you against the ropes before delivering a knockout punch with a gut-wrenching conclusion destined to leave audiences stunned.
  2. Gomes has created something truly unique and remarkable; a rally cry against the powers that have choked the fire out of his country and a love song to those he sees rekindling the flame. Its constituent parts may not be perfect, but what a stunning whole.
  3. Arabian Nights may frustrate and enervate, but with hindsight these blemishes fade into a gleaming collage.
  4. The individual tales meanings are obscured by wavering tone and formal gymnastics.
  5. The Good Dinosaur is up there with Toy Story in terms of its technical achievement and for providing an equally heart-touching, emotional tale.
    • 81 Metascore
    • 100 Critic Score
    A hilariously louche and ramshackle psychedelic noir, Inherent Vice is an audacious stylistic leap for Anderson, but his risks pay off beautifully. It's an amazing work, capturing the heady vibe of Thomas Pynchon's novel while stumbling into in the great cinematic lineage of California noir.
    • 80 Metascore
    • 100 Critic Score
    The running time (like all Lanzmann's films) is not oppressive but allows for Murmelstein and his interlocutor to talk through, around and inside the context and reality of pragmatism, egoism, heroism and evil.
  6. Anomalisa might be bizarre, surreal and far out, but it always feels paradoxically real, grounded and deeply true.
    • 82 Metascore
    • 100 Critic Score
    This brilliant, beautifully observed comedy is a joy to watch throughout. The Second Mother's narrative works on so many levels, reflected in the film's ambiguous title, and the characterisation is flawless.
  7. Son of Saul is not simply a good film, it feels like an urgent and important one, a warning from history.
  8. The film is heartfelt and sincere in its concern to understand conflict and the plight of good men when they're forced to make impossible choices.
    • 83 Metascore
    • 100 Critic Score
    Its thematic textures run deep, but the picture retains real visceral force.
  9. Fortunately, Boyhood concludes on a note of such unbridled optimism, Linklater is defying you to leave the auditorium without a grin on your face. Indeed, few will after experiencing this astonishing cinematic treasure.
    • 75 Metascore
    • 100 Critic Score
    This is political cinema at its best; intelligent, thought-provoking and utterly absorbing. Bakri is a star in the making and delivers an electrifying performance.
  10. Oppenheimer's first film maintained a passive detachment, allowing the killers to re-enact their own atrocities and metaphorically hang themselves with their own words. The Look of Silence takes a far harder line, probing the killers more deeply and confronting them in an attempt to shake some sense of remorse out of them.
  11. Dolan is a director who thinks hard about the possibilities of cinema and explores them with verve and ingenuity, but it is in his latest film that everything has come together.
    • 71 Metascore
    • 100 Critic Score
    Ferrara's Welcome to New York is a savage work that's easily one of the best films of the year. [Unrated Version]
  12. The Childhood of a Leader is a dark, enigmatic piece of work that hovers between visionary greatness and petty domestic triviality. Corbet's inaugural stint behind the camera marks a stunning debut.
  13. Zvyagintsev's pessimism is leavened both by his comedy and his sense of beauty. Mikhail Krichman's cinematography captures the sublime grandeur of the landscape against which the nasty, brutish and short lives are played out.
  14. Tsai's Stray Dogs is a masterpiece of social-realism, a distinctive and beguiling study of society's displaced and marginalised that plays to the beat of its own drum and refuses to conform to cinema's own commodification.
  15. Drunk on the visual majesty of Rome, just as Fellini once was, this is arthouse cinema at its most effortlessly entrancing, with life and art blending into one magnificent whole.
  16. Girlhood's non-patronising and credible representation of class, race and gender is a rare and perceptive illustration of the intricacies of social inequality.
  17. Snowpiercer evolves steadily, growing richer with every step and slowly feeding us morsels of information - enriching this ludicrous premise with enough magic and wonder to suspend our disbelief entirely.
    • 69 Metascore
    • 100 Critic Score
    Nina Forever is a brilliant, intelligent and emotionally rewarding debut feature.
  18. Birdman is a rich, startlingly clever and multi-layered collage, with Iñárritu creating a meta-universe of mirrors and performances upon performances.
  19. The Force Awakens barrels back into Lucas' 'lived-in' universe with inextinguishable energy and boundless joie de vivre.
  20. A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations.
  21. Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.
  22. An exercise in assigning valuable historical context to scenes of brutality, Concerning Violence is a lesson in understanding a continuing colonial condition, the roots and complexities of which are often concealed and simplified by news coverage of poverty and conflict.
  23. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.

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