CineVue's Scores

  • Movies
For 291 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Mommy
Lowest review score: 20 Aloft
Score distribution:
  1. Negative: 10 out of 291
291 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.
    • 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.
  2. Son of Saul is not simply a good film, it feels like an urgent and important one, a warning from history.
  3. 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.
  4. 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.
  5. 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.
  6. 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]
  7. 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.
  8. 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.
  9. Girlhood's non-patronising and credible representation of class, race and gender is a rare and perceptive illustration of the intricacies of social inequality.
  10. 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.
  11. Birdman is a rich, startlingly clever and multi-layered collage, with Iñárritu creating a meta-universe of mirrors and performances upon performances.
  12. 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.
  13. Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.
  14. 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.
  15. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
  16. Although a couple of narrative twists late on threaten to drum us into melodrama, Chazelle never misses a beat and the film builds to a cathartic crescendo.
    • 75 Metascore
    • 80 Critic Score
    The Punk Singer is a rewarding and positive experience. Anderson delivers a fascinating account of the grunge era and an influential story of a role model who has the guts and spunk to hopefully inspire a whole new generation of Riot Grrls and Boys.
  17. Nothing is too much, and whilst there is the danger that some will find the unremitting havoc tiresome, Miller's endless innovation keeps things fresh despite the surrounding wasteland.
  18. A fluid, dreamlike tone poem of mothers and fathers, death and continuance.
  19. From Pteranodon's dive-fishing to Raptors pack-hunting, Jurassic World is in its element when it's using its assets, and though they can't recreate that awe of twenty-two years ago, this is finally a sequel worthy of the title.
  20. Sissako's film is at turns funny, poetic and deeply moving.
  21. It's been some time since a drama has tackled the moral complexities of revenge quite so brutally - and so well - with each character offering a different perspective on China's crippling corruption and ethical decay that's depressingly common, yet rarely reported.
    • 79 Metascore
    • 80 Critic Score
    For Those in Peril isn't afraid to take risks and is full of ingenuity, but at its core is an emotive piece about overcoming a death in the family - something we can all surely associate with.
  22. Guardians of the Galaxy is undoubtedly a flashy space opera, but if you are on board with that, it's a resounding success that takes a seat at Marvel's top table and suggests there could still be life after The Avengers.
    • 83 Metascore
    • 80 Critic Score
    Unlike many of Miyazaki's previous works, The Wind Rises is a film rooted far more firmly in realism. Although it does have its fair share of fantastical dream sequences and magical flying machines.
  23. Each set piece is orchestrated with aplomb - a raid on a tunnel under the border being a particular stand out - but Sicario is kept grounded in reality. Villeneuve keeps his focus tight on his small group of characters and though the plot is complex, it fits the Byzantine intricacies of the problem and the obscure motivations of the operators.
  24. Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.
  25. It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.
  26. This is a film of ideas, but it's a comedy first, and its boldness is that it doesn't aim to address a pro-choice or pro-life stance - it's about Donna just getting on with it all the same.
  27. Sachs and Love Is Strange co-writer Mauricio Zacharias craft an intergenerational love story believably told and immaculately acted.
  28. Not only does Li'l Quinquin's procedural strand evoke countless laughs both macabre - the body that incites the story is found chopped up inside a cow - and slapstick, but also provides the context the exploration of deeper themes.
  29. This undeniably silly, but raucously entertaining, off-the-wall transhumanist actioner is an absolute riot.
  30. The ultimate message may be a little fuzzy, but Mundruczó has crafted a incredibly cinematic canine parable that remains gripping and inventive from its nose to its tail.
  31. It may be stuck in the past, with its hoary clichés about the call girl with the heart of gold and the incurable romantic, but the whole thing fizzes with such joie de vivre that the anachronisms only add to its overwhelming charm.
  32. Scary and funny by turns, Green Room has the potential to become a cult hit, with a genuine midnight movie appeal, and furthers the growing reputation of this young director.
    • 71 Metascore
    • 80 Critic Score
    Vinterberg's Far From the Madding Crowd is a wondrous feat: at turns tender, dramatic, fragile and bold, it's the definitive adaptation.
  33. Baumbach is never likely to make a film that doesn't engage with interesting issue, but on this occasion he's made something smart and relevant that really brings the funny, arguably making this his most widely appealing film to date.
  34. A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.
  35. The human drama isn't always as compelling as it wants to be, but at its best Godzilla is a hugely entertaining blockbuster that starts strongly and finishes with a mighty roar. The king of the monsters has returned, and it appears he's here to stay.
  36. The Duke of Burgundy lingers long in the mind and cements its director's much-deserved place as one of the most exhilarating currently at work.
  37. Rams is a truly remarkable, eccentric work.
  38. Artfully, his films tracks the tragic decline of a good man gone bad, who finds murder too insignificant not to do again and again, a worthy addition to William Shakespeare's ever growing filmography.
  39. It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.
  40. Lanthimos has broadened his scope and has created a marvellously bleak, bizarre comedy.
    • CineVue
  41. In his signature style, without talking heads, narration or explanatory context, Wiseman takes us straight into the London gallery itself and the inhabitants inside - both human and paint-form.
    • 49 Metascore
    • 80 Critic Score
    The found footage format has been milked to death of late... but here it's used to fully immerse the viewer, ensuring that the characters speak directly to the audience and, with the removal of the third wall, throws them straight into the lion's den to create maximum discomfort.
  42. It's Coogler's confrontational depiction of police brutality and his attempts to represent the society he aims to inspire and inform that makes Fruitvale Station such essential viewing.
  43. T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.
    • 90 Metascore
    • 80 Critic Score
    Haigh's latest is an impressive study of a couple haunted by their past. and a potent reminder both of the fragility of love and the need to keep communication open at all times.
  44. Featuring two outstanding lead performances from bright young talents Lika Babluani and Mariam Bokeria, Ekvtimishvili and Groß immerse their audience in the detritus of a country in tatters, whilst at the same time delicately nurturing two intertwining female maturation tales - with all that entails.
  45. Locke never shies away from from thrusting 21st concepts of masculinity into the full glare of the high beams, exposing its morally complex protagonist at his most vulnerable before triumphantly rebuilding him from the foundations upwards. Don't miss it.
  46. A nefarious misadventure that's technical prowess and heartbreaking lead performance belies its economical pedigree, Saulnier's farcical tale is punctuated with irregular scenes of dark, bumbling humour whilst a wanton disregard for the bellicose testosterone of similar tales successfully constructs a tense and naturally opaque mood that broods with the clammy tension of an impending storm.
  47. For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.
  48. Above all else John Wick is a lean, mean revenger to go with its ice-cold protagonist. It's not perfect, but you'll be hard pressed to find a more enjoyable action movie this year.
  49. Like the Barry Lyndon of martial arts movies, every shot has been composed, lit and executed with such care and attention by Hou and his cinematographer Mark Lee Ping-Bing that The Assassin is totally absorbing in its spectacle, from the meticulous details of the interiors to the astonishing, breathtaking locations, from forests and waterfalls, to mountainsides and in one unforgettable moment cliff tops.
    • 84 Metascore
    • 80 Critic Score
    What Brett Morgen crafts for his audience - in what may very well come to be known as the definitive documentary on the musician - with Cobain: Montage of Heck (2015) is simply stunning. Morgen runs his coverage of Cobain from the cradle to the grave.
    • 98 Metascore
    • 80 Critic Score
    A beautiful entity, near flawless in design, any talk of accolades certainly seems justified.
  50. Despite falling into the occasional genre trap, every step of Catch Me Daddy points to a pair of filmmakers unafraid to make brave and interesting choices.
  51. The dark recesses of a diseased mind may make the headline, but it is the indictment of far more widespread infection that rings out and is striking in its prescience.
    • 63 Metascore
    • 80 Critic Score
    The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.
  52. Devoid of cash-in cynicism, and full of belly-shaking humour, Paddington proves to be not just a wonderful contemporary rendition of the bear, but a polite hat-tip to the man who created him, paying homage in the best way possible: by bringing a gentle, slightly reserved, smile to audience faces.
  53. Stevens is excellent both as the cordial house guest and the brooding time- bomb ever present beneath his earnest veneer.
  54. With a richness of characterisation usually reserved for hefty novels, each shot in Winter Sleep glows like a symbol, whilst each digression is almost a short story in itself.
  55. Despite being one of his most ostentatious films to date, the setting, plot, performances and authorial tone on display marry together seamlessly to simultaneously heighten and smooth his trademark style.
  56. [Bahrani's] created a complex and thoughtful political drama with the speed and tension of a good thriller.
  57. A satisfying balance of family drama, political intrigue and all-out action (an ape cavalry charge has to be seen to be believed) do, in truth, only constitute half of the story, as Reeves' sci-fi sequel is as much a technical triumph as a narrative one.
  58. With starkly enigmatic, but beautifully wrought and filigree imagery, with a dark cutting humour which is bleak rather than ironic, Garrone is not interested in touching our hearts or giving us a comfortable moral.
  59. The Wonders is a complex and nuanced illustration of a family trying to live by their own standards - whilst only partly failing. Rohrwacher's vision is tactful and restrained, with so much we don't ever know. The characters' histories are there to be guessed rather than spelled out.
  60. Although Tamhane's film recalls Franz Kafka in its nightmarish vision of inhumane bureaucracy, Court is neither faceless nor surreal. Rather, the absurdity and numbness are all too human and as such even more frightening.
  61. Amy
    Whereas Senna had that one moment of horrible impact, this latest tale is the story of one long car crash.
  62. Most importantly, Appropriate Behaviour is funny, and not just sporadically entertaining, the film is a riotous series of mishaps from start to finish.
    • 86 Metascore
    • 80 Critic Score
    Longinotto's film shines a light on Brenda and her colleagues' important contribution to changing both the legal system's attitude to prostitution, and to the empowerment of women, who are shown that if they want to change their lives, there is someone there who can help them achieve it.
  63. The film is both a biography of Cave's life and a beguiling vision of a musician considering the meaning of his own art.
  64. It's a feel good movie but also a refreshing blast from the past, expressing a nostalgia for a time when political quietism and apathy had not won the day and a Billy Bragg song made more than historical sense.
  65. Lilting looks set to linger on in the memory of those who seek it out for weeks, months and perhaps even years to come.
  66. An expertly handled and brilliantly performed feel-good comedy with an original twist.
  67. With The Postman's White Nights, Konchalovsky offers up an intimate and moving pastoral.
  68. Clearly modelled on a familiar western narrative, Pablo Fendrik's The Burning (2014) both embraces and playfully inverts the tropes that define its genre classification.
  69. In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.
    • 82 Metascore
    • 80 Critic Score
    Archipelago is a sharply observed and excruciatingly honest exploration of family relationships and the mess that we call life. Hogg has proven herself here to be one of Britain's most important film-makers.
    • 87 Metascore
    • 80 Critic Score
    Quickly paced and oozing with visual ingenuity, The King and the Mockingbird is an off-kilter but enormously enjoyable passion project whose stance as the vanguard of gorgeous, purely hand-drawn animation is as notable as its notorious production.
  70. With Avengers: Age of Ultron, Whedon doesn't merely hit it out of the park, he Hulk-smashes it.
  71. While it is serious, Hogg also manages to insert some oddball humour and a little hopeful levity into the proceedings. The fractures provide the absolutely riveting subject matter, but Exhibition shows the potential for healing and confirms its director's place at the forefront of intriguing British filmmakers.
    • 73 Metascore
    • 80 Critic Score
    It's a film that prompts an overwhelming emotional response as it weaves its dark magic.
    • 64 Metascore
    • 80 Critic Score
    The film is a bravura depiction of the harsh brutalities of war that, though monotonous, is an entirely rousing entry in the annals of great WWII cinema.
  72. A brutal, crackling and savage Hollywood satire Maps to the Stars knows exactly where it's going, carefully breaking every rule in the book. After carefully constructing his crystal kingdom, Cronenberg launches his stones with dark, mischievous joy.
    • 63 Metascore
    • 80 Critic Score
    For a film that looks at a believably nightmarish future, The Congress sits out of its time; a feverish relic of a post-revolutionary cinema of the mind that attempts to transcend the confines of a bloated filmic space that appears no longer interested in discourse, and would rather parley its audience into a stupefied boredom.
  73. Quieter moments do punctuate the tension - though the mood never sheds the lingering stench of impending death - and the characters are allowed time to breathe and inject a little colour to their long-standing relationships.
    • 69 Metascore
    • 80 Critic Score
    Predestination bends genre like it bends time. Simply put, it's a character study filtered through a science fiction lens.
  74. Maidan is a stunning piece of political cinema and a documentary of quietly moving power and beauty.
    • 68 Metascore
    • 80 Critic Score
    Treading the fine line between truth and fiction, Kumiko is more than just a homage to the Cohen brothers.
    • 51 Metascore
    • 80 Critic Score
    Blackhat is about the contraflow; it's a disruption in the new technocracy and a fly in the ointment of big budget Hollywood cinema.
    • 63 Metascore
    • 80 Critic Score
    Love and war are a winning combination and Eduard Grau's cinematography, terrific performances all round, in particular the simmering chemistry between Schoenaerts and Williams, should ensure Suite Française's success as well as adding to Némirovsky’s fan base.
  75. Force Majeure is a gripping and deftly observed drama that adds caustic condemnation through its embracing of humour.
  76. The fraternity versus parents premise is a decidedly simple one, but the surprising amount of depth to the characters helps mine it for all its worth.

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