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.
  24. Asbæk is towering as Claus, never less than believable as the leader of his platoon, and standout as he comes to terms with the cracks in his own story.
    • 81 Metascore
    • 100 Critic Score
    Even at a hefty 140 minutes, Bridge of Spies maintains a solid pace. Spielberg's mise-en-scène and the streamlined editing of long-time collaborator Michael Kahn are tremendous.
  25. 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.
  26. The deft and highly emotive handling of his condition and the wider ramifications of his story make The Dark Horse a lot more than merely the against-the-odds chess story that it may initially appear to be.
  27. 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.
  28. A fluid, dreamlike tone poem of mothers and fathers, death and continuance.
  29. This is a brilliantly contained and sublimely ridiculous send-up of competitive male egos from a refreshing female perspective.
  30. 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.
  31. Sissako's film is at turns funny, poetic and deeply moving.
  32. 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.
  33. 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.
  34. The Hunger Games looks poised to usher in a brand new hit franchise and deserves all the credit it gets for its confrontational subject matter, delicately-orchestrated fight sequences and sci-fi sensibilities. For teen audiences, films don't get much darker - or smarter - than this.
    • 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.
  35. 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.
  36. Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.
  37. It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.
  38. With Catching Fire, director Lawrence certainly isn't afraid to bide his time and build anticipation for the truly spectacular (and tropical-tinged) Quarter Quell, patiently reestablishing crucial relationships for maximum dramatic pay-off.
  39. 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.
  40. The Gift might not smash the boundaries of genre filmmaking but therein lies its appeal; a smart, well-made thriller that balances high-minded cinema with genre thrills.
  41. Sachs and Love Is Strange co-writer Mauricio Zacharias craft an intergenerational love story believably told and immaculately acted.
  42. 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.
  43. This undeniably silly, but raucously entertaining, off-the-wall transhumanist actioner is an absolute riot.
  44. 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.
  45. An unconventional biopic that's masterfully executed and fascinating to watch.
    • 74 Metascore
    • 80 Critic Score
    Ozon is firing on all cylinders here, giving viewers a neat slice of cinematic confection that showcases what he does best: present morally complicated but very human stories that have enough panache to keep all eyes at attention for as long as he desires.
  46. 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.
  47. 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.
    • 35 Metascore
    • 80 Critic Score
    The brutalisation of three female characters is horrific, but it would be a presumptuous leap to suggest the film itself flexes a misogynistic creed. Such assertions would woefully misconstrue Bakhia's thematic subtext, which is an examination and comment on the male mind warped by patriarchal thinking and a manipulative form of self-exculpation/cowardice.
  48. If Northern Soul loses its way a little as the duo's friendship starts to unravel, with Constantine working in some unwelcome and unnecessary melodrama, this is a minor blip in what is an otherwise joyous and air-punching affair.
    • 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.
  49. 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.
  50. A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.
  51. 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.
    • 65 Metascore
    • 80 Critic Score
    Jason Lei Howden's directorial debut is primed for unalloyed genre thrills, making you laugh until your sides hurt and subverting the rom-zom-com format.
  52. 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.
  53. Rams is a truly remarkable, eccentric work.
  54. 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.
    • 87 Metascore
    • 80 Critic Score
    The casting is perfect and the acting uniformly superb. For all its lack of depth, the script is sharp, zippy and only occasionally hokey.
  55. It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.
  56. Brilliant and moving stuff; another hit for Abrahamson.
  57. Lanthimos has broadened his scope and has created a marvellously bleak, bizarre comedy.
    • CineVue
  58. 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.
  59. 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.
  60. T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.
    • 94 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.
  61. The acting throughout is superb, with Swinton sitting back and watching with obvious pleasure as Fiennes gnaws up the scenery and beach furniture with genuine vim. Schoenaerts once again proves himself a charismatic and compelling actor alongside the excellent Johnson.
    • 93 Metascore
    • 80 Critic Score
    Sherpa tells of a contemporary act of defiance which would undoubtedly bring a characteristic grin to the face of the forefather of modern climbing.
  62. You may have casually leafed through one of the photographer's books in the past, or even visited a gallery of this work, but this documentary is a must-see for anyone who has ever expressed an interest in this fascinating figure (and for those keen to witness what life is like on the other side of the lens).
  63. 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.
  64. 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.
  65. 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.
  66. Hard to Be a God is a cinematic behemoth, an unshakable monochrome nightmare of squelching bodily discharges that inhabits a world so noxious you can almost smell the pungent deterioration of humanity as it spews forth from the screen.
  67. Poetic realism for a digital age, Tangerine also shares a lot of qualities with the cinema of Mike Leigh and Ken Loach. There's no cheap manipulation here and Baker's characters never come across as victims.
  68. For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.
  69. 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.
  70. 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.
    • 83 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.
    • 95 Metascore
    • 80 Critic Score
    A beautiful entity, near flawless in design, any talk of accolades certainly seems justified.
  71. 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.
  72. By adopting an eerily voyeuristic approach and filming the barren North Dakota landscape with a cold, penetrating gaze Welcome to Leith creates a bone chilling atmosphere not too dissimilar to a horror film; leading the audience down a compelling, yet genuinely unnerving path into the darkest rudiments of the human psyche.
  73. 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.
    • 50 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.
  74. 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.
  75. Stevens is excellent both as the cordial house guest and the brooding time- bomb ever present beneath his earnest veneer.
  76. Fukunaga and his actors - especially the two leads - have managed to create a riveting drama which is suitably appalling.
  77. 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.
  78. 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.

Top Trailers