CineVue's Scores

  • Movies
For 236 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% 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 The Tribe
Lowest review score: 20 Plastic
Score distribution:
  1. Positive: 99 out of 236
  2. Negative: 9 out of 236
236 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. 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.
  3. 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.
  4. 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.
  5. 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.
    • 65 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.
  6. 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.
  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. Girlhood's non-patronising and credible representation of class, race and gender is a rare and perceptive illustration of the intricacies of social inequality.
  9. 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.
  10. Birdman is a rich, startlingly clever and multi-layered collage, with Iñárritu creating a meta-universe of mirrors and performances upon performances.
  11. Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.
  12. 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.
  13. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
  14. 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.
  15. A fluid, dreamlike tone poem of mothers and fathers, death and continuance.
  16. Sissako's film is at turns funny, poetic and deeply moving.
  17. 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.
  18. 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.
  19. Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.
  20. It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.
  21. 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.
  22. Sachs and Love Is Strange co-writer Mauricio Zacharias craft an intergenerational love story believably told and immaculately acted.
  23. 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.
  24. This undeniably silly, but raucously entertaining, off-the-wall transhumanist actioner is an absolute riot.
  25. 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.
  26. 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.
  27. 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.
  28. A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.
  29. 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.
  30. 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.
  31. It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.
  32. 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.
  33. 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.
  34. T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.
    • 82 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.
  35. 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.
  36. 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.
  37. 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.
  38. For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.
  39. 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.
  40. 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.
  41. 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.
  42. Stevens is excellent both as the cordial house guest and the brooding time- bomb ever present beneath his earnest veneer.
  43. 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.
  44. 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.
  45. [Bahrani's] created a complex and thoughtful political drama with the speed and tension of a good thriller.
  46. 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.
  47. 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.
  48. 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.
  49. 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.
  50. The film is both a biography of Cave's life and a beguiling vision of a musician considering the meaning of his own art.
  51. 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.
  52. Lilting looks set to linger on in the memory of those who seek it out for weeks, months and perhaps even years to come.
  53. With The Postman's White Nights, Konchalovsky offers up an intimate and moving pastoral.
  54. 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.
  55. 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.
  56. 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.
  57. 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.
  58. Maidan is a stunning piece of political cinema and a documentary of quietly moving power and beauty.
    • 67 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.
  59. Force Majeure is a gripping and deftly observed drama that adds caustic condemnation through its embracing of humour.
  60. 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.
  61. 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.
  62. While the film's mischievous narrative manipulation will inevitably irk some viewers, this beautifully rendered opportunity to view the world through the eyes of those who can no longer see is a smart and moving portrayal of living with an ocular condition.
  63. Dancing in Jaffa is a wonderfully insightful documentary that explores a side of geopolitical tensions in a completely new light. Like Dulaine's teachings, the feeling of hope, the promise of light at the end of the tunnel, never diminishes.
  64. It makes for truly sobering viewing that cuts to the quick, exposing the atrocities the country's government so willingly commits.
  65. Kent, who gathers a cast of extremely bright young things, creates a drama that glides with sorrowful grace, pitching at a respectful and tear-inducing tone.
  66. Polsky keeps Red Army driving forward and the result is a film as fast-paced and bloody-minded as the sport it celebrates.
  67. Rife with the director's trademark stylistic preferences, this is a blast of an idiosyncratic comedy full of brilliant deadpan performances that offer a wickedly funny and poignant conclusion to the fable.
    • 73 Metascore
    • 80 Critic Score
    Ex Machina exposes the insecurity of the male ego by showing his lust for creation as simply another strand in the patriarchal power game. The film's trajectory forms a thrilling, exciting corrective.
  68. Although A Most Violent Year may hit fever pitch when Abel engages in a nerve-wracking chase of a stolen tanker, it's in the murky uncertainties and frosty climate that it endures and excels.
  69. Petzold's Phoenix is a high-concept premise executed as a heart-wrenching character piece.
  70. Andersson packs his film with thought-provoking deadpan humour.
  71. Interstellar may not be perfect, but tent-pole filmmaking with such ambition and grandeur is always worth celebrating.
  72. With The Homesman, Jones has produced an original and cantankerously offbeat western which becomes increasingly beguiling as the road stretches on.
  73. The result is a beautifully entertaining film. It is witty and the scenes between Gerwig and Pacino fizz alternately with flirtation, humour and occasionally rage.
  74. Gere does a fantastic job of embodying this broken man... It's an incredibly moving performance that lends Time Out of Mind emotional weight and anchors this contemplation of a man adrift in a world that doesn't appear to care.
  75. Not only is The Voices uproariously funny throughout, but it's actually far cleverer than one might expect.
  76. The performances of both Moss and Waterston are tremendous, filling the empty spaces of the frame with a suffocating mist of pain and suffering.
  77. 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.
  78. The humour is scant and there's no real risk of peril (Grant George's nephew and his dastardly plans seem more psychopathic than threatening). Yet when you have a film that's colourful, easy on the eye and full of positive messages about friendship and trust, then kids will be happy.

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