CineVue's Scores

  • Movies
For 100 reviews, this publication has graded:
  • 42% higher than the average critic
  • 5% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Whiplash
Lowest review score: 20 Transformers: Age Of Extinction
Score distribution:
  1. Positive: 39 out of 100
  2. Negative: 4 out of 100
100 movie reviews
  1. 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.
  2. Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.
  3. 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.
  4. 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.
    • 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. 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.
  6. 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.
    • 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
    • 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.
  13. 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.
    • 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.
  14. Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.
  15. For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.
  16. 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.
  17. 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.
  18. In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.
  19. 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.
  20. With The Homesman, Jones has produced an original and cantankerously offbeat western which becomes increasingly beguiling as the road stretches on.
  21. A fluid, dreamlike tone poem of mothers and fathers, death and continuance.
  22. Sissako's film is at turns funny, poetic and deeply moving.
    • 83 Metascore
    • 80 Critic Score
    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.
  23. 22 Jump Street is hugely successful in retaining - and in many instances, improving upon - the qualities of it predecessor and pitching some jokes that will still have people chuckling for days afterwards.
    • 51 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.
  24. 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.
  25. 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.
  26. T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.
  27. 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.
    • 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.
  28. 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.
  29. 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.
  30. Lilting looks set to linger on in the memory of those who seek it out for weeks, months and perhaps even years to come.
    • 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.
  31. Although it fundamentally has many of the same issues as the first film, the strengths are enhanced in The Amazing Spider-Man 2 and it's certainly a step forward for the franchise. Now, let's give the web-head a villain worthy of his attention.
    • 80 Metascore
    • 60 Critic Score
    It's in Wasikowska's confident performance alone that it's more gratifying to acknowledge any motives. The Australian actress appears to come of age in by far her most assured role, every bit believable as a tough but introverted city girl making her way in her country's Outback
  32. A rollercoaster ride of tongue-in-cheek cliché, there's plenty of fun to be had with this cheekily reverential horror; yet, a dependence on the sexualisation of the female form anchors the film firmly within 'knowing' horror misogyny.
  33. Binoche's potent performance [cuts] to the quick of the struggle to balance a passion for work with a commitment to family.
  34. Throughout, each of Ilo Ilo's performers give wonderfully naturalistic turns, providing the entire film with a heartening authenticity.
  35. Impressive for the most part without being awe-inspiring, the film's two timelines converge in a much more satisfying and thrilling ways towards the end, where the emotional stakes are considerably upped.
  36. By interchanging bawdy gaiety and a ponderous attitude to emphasise the film's spiritual message, Calvary feels extremely disjointed, struggling to balance its dualistic tone on top of its oversized ensemble cast.
  37. Shock and awe are both present - as is Escalante's intense style - but Heli lacks the ideas or formal dexterity to constitute a state of the nation address in any but the most cursory of ways.
  38. At 100 minutes, the film runs dangerously close to outstaying its welcome, but like its subject matter, Diaz's Don't Stop Believin': Everyman's Journey is both amiable and appealing.
  39. As an audience, you're infected with the languor Abby suffers, realising that as pretty as Concussion looks and with such an interesting premise behind it, beneath the surface there is precious little to really sink your teeth into.
  40. With Frank, Abrahamson cultivates a mystical hour of prog-based shenanigans before he - and his film - begin to lose their collective heads in a muddled final third.
    • 60 Metascore
    • 60 Critic Score
    Nothing quite competes with the blistering opening scene, but The Salvation's cast of characters mean it's never less than a fun watch.
  41. Two Days, One Night is well made, and Cotillard and the rest of the cast give assured performances, but its optimism is desperate. By no means the Dardennes' best work, one wonders if they shouldn't perhaps stray outside of their comfort zone.
  42. As we pass from one story to another the relentless savagery does get a bit grinding. In addition, at two hours in length, Szifron's film is perhaps one skit too long. Regardless, Wild Tales is an inventive, occasionally hysterical ride.
  43. The trajectory of success and excess followed by last act redemption is familiar to the point of parody, and the ploys with time come over as gimmicky attempt to inject an element of surprise into the otherwise predictable narrative.
  44. Both actresses are excellent, with Binoche given more to do and she flips between attempting to get into the skin of her character and back to her normal self. Stewart, on the other hand, has an easy naturalism as she moves from devotion to rebellion without ever being able to fully express herself.
  45. This is the kind of oddball midnight movie that could easily gain a cult following and there are delights to be had in the midst.
  46. As you'd expect from an actor-director of Amalric's pedigree, the performances are brilliant throughout and Mathieu himself has a wonderful eye for the telling tick and/or the revealing gesture.
  47. Party Girl may tread familiar ground but Theis-Litzemburger is utterly convincing as the self-absorbed, beguilingly unaware lead.
  48. Despite its pitfalls, Maleficent entertains because of Jolie, who holds the wavering threads of Stromberg's spinning wheel together with aplomb.
    • 45 Metascore
    • 60 Critic Score
    So much is thrown at the wall that some of it's got to stick - comedy for comedy's sake, if you will - and while that doesn't make for a great film necessarily, it certainly doesn't make for a bad one.
  49. At its very best his Venus in Fur is a clever and often comical two-hander, with Amalric and Seigner both giving tour de force performances.
  50. Cheap Thrills is a commendably flawed experiment in imbuing social anxiety with genre shocks.
  51. The acting throughout is supremely naturalistic, and the social milieu of both family life and the theatre are carefully observed and lightly rendered.
  52. With Yves Saint Laurent, Lespert has played it safe but stylish, and pulls it off thanks to some canny casting choices and a refreshing focus on mainstream appeal.
  53. It remains remarkable that, at the grand old age of 73, Bertolucci is still making films of intelligence and guile, let alone features about teenage angst and sexual maturation.
  54. Salvo ends up feeling like a very bright start for its creators but never quite finds a narrative or thematic drive to match its artistic verve.
  55. An otherwise intelligent piece that favours deftness of touch over bombastic thrills, A Most Wanted Man is an efficient espionage drama that, whilst in no way revelatory, is attuned to its source material's non-heroic and morally ambiguous approach to a well-worn genre.
  56. Slattery does at times struggle to bring anything new to the impoverished blue-collar, working-class trope. Relying heavily on several top-drawer character actors to lift his occasionally flat, even nihilistic story of love and death amidst urban decay, it's Hoffman and Jenkins that deserve the largest proportion of praise, while other characters quickly fall to the wayside of our interest.
    • 66 Metascore
    • 60 Critic Score
    For the most part, Dinosaur 13 is highly absorbing - some of the decisions that come against Larson are truly shocking - but it does lack in places as a piece of documentary journalism.
  57. Having constructed such a dramatically enticing set-up, it's thus disappointing to see Mackenzie fall back on familiar generic tropes with such a frustrating sense of inevitability.
  58. Rio 2's Amazon adventure finds its wings clipped by more tired and unnecessary subplots than you can shake a feather at.
  59. While the core concepts of Transcendence and the questions they pose are inherently interesting, the manner in which the themes are explored feels extremely superficial.
  60. It soon becomes difficult to dismiss the suspicion that Goldthwait had set out to make a comic horror but forgot to insert any laughs.
  61. Pompeii make tick all the necessary movie checkboxes, but its execution is unoriginal and uninspired.
  62. It's essentially a collection of shoddily edited action sequences, underpinned by a monotonous narrative that has no purpose, let alone moral heart to reward viewers' waning attention.
  63. Even Lavant's brief cameo as a roving theologist towards the finale can't spark the disappointingly bland Michael Kohlhaas into life - surely the most damning indictment of all.
  64. The comedy is never hearty enough to be truly enjoyable, only managing a chain reaction of titters at best.
  65. An uneven blend of melodrama and the horrors of civil war, it should be anchored by strong leads but instead remains listless and adrift.
  66. Though not without merit, Cold In July finds Mickle happily stalled in front of the drive-in cinema screens of his youth. Let's just hope he can find the exit.
  67. Amini has proven his narrative acumen before and will undoubtedly do so again, but his inaugural stint behind the camera offers only fleeting glimpses of Highsmith's seductive, satirical prose that old hands such as Clément, Hitchcock and Minghella have so notably put to good use.
  68. The film feels like yet another product of the recent studio appropriation of mumblecore as a commodity, ultimately removing any semblance of individualism and feeling like just another product off the factory conveyor belt.
  69. Sadly, In Secret's script is so loaded with dud lines that any of the more successful elements are quickly erased from memory.
  70. Arnie completists will enjoy seeing the Austrian Oak in good form, but as a whodunit thriller Sabotage is found severely wanting.
  71. Despite a liberal dose of full frontal nudity, The Canyons fails to fully revel in its sleaze, struggling to even work as a deadpan satire on the kind of vacuous and deadened Hollywood types Easton Ellis brought to life in the pages of his debut novel, Less Than Zero.
  72. Not exciting enough to be taken as straightforward thriller and not engaging enough for a dramatic character piece, Egoyan's The Captive is held back by its own lame script and a distinct lack of necessity.
  73. The characters of Jimmy's Hall aren't really characters as much as archetypes: the saintly mother, the sweetheart, the hero, the villain. This is the kind of film where people don't argue - they debate - speaking in lines from manifestos and creating an incongruity.
  74. There's no doubting Hazanavicius' sincerity in trying to bring the Chechen conflict, the war crimes committed against the civilian community and the indifference of the international community to light, but it's this righteousness that gets in the way of The Search working as a film first and foremost.
  75. As a social commentary, White God is unfortunately barking up the wrong tree.
    • 58 Metascore
    • 40 Critic Score
    Unfortunately, despite its good central idea, Lapeyre and Wilson's execution is disappointingly poor.
    • 71 Metascore
    • 40 Critic Score
    When I Saw You too closely resembles a Children Film Foundation treatise on a subject that deserves (and needs and demands) better treatment; something that will focus people's gaze on the horror and displacement of exile and all that entails.
    • 72 Metascore
    • 40 Critic Score
    Bearing in mind the dramatic nature of the real life-and-death story at Dormant Beauty's core, this is an unacceptable and irresponsible piece of filmmaking for all of its good intentions.
  76. A lacklustre, frustratingly inconsistent work of music history sugar-coating.
  77. Ultimately, Benson's Eleanor Rigby disappears into the gap between its rom-com and drama stools.
  78. Hughes' sequel fails because it makes no attempts whatsoever to rise above its predicable formula, even with the new cast additions and a promising director.
  79. As much as the sequel aches to remind audiences of what they liked first time round, it struggles to establish itself as its own unique entity.
  80. The film isn't just bad - it's awful - ineptly directed (Olivier Dahan), terribly written (Arash Amel) and bafflingly acted by an assortment of miscast faces.
  81. Postman Pat: The Movie is a disappointment; a modern-day reinvention of a traditional, much-loved classic that differs so far from its comfort zone that it'll have a difficult time winning audiences, let alone maintaining there attention.
    • 32 Metascore
    • 20 Critic Score
    Does Michael Bay fit the criteria of an auteur? He certainly has his own line of distinctive tropes: the migraine-inducing noise, the fetishistic gloss, the playground-bully characters elevated to hero status and a fervently male gaze.
  82. If there's a positive to be taken away from Hector and the Search for Happiness, it's that British cinema doesn't get much worse than this.

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