CineVue's Scores

  • Movies
For 791 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Arabian Nights: Volume 1, The Restless One
Lowest review score: 20 Rodin
Score distribution:
  1. Negative: 22 out of 791
791 movie reviews
  1. 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.
  2. Bold in ambition and delicate in execution, it will break your heart and then piece it back together.
  3. Rather than confront the guilt related to the sins of the past it paints over them in vivid colours, hoping the viewer will collude in its melodramatic muddying of the water.
  4. It's how the film handles grief and alienation which makes Marina's story so compelling.
  5. With 12 Years a Slave, McQueen has not only created his finest work to date, but also a potential modern masterpiece.
  6. Comedy is used to undercut the most horribly tragic of moments...given the sadness all the more pathos and offering glimpses of hope in a narrative resistant to catharsis.
    • 95 Metascore
    • 80 Critic Score
    A beautiful entity, near flawless in design, any talk of accolades certainly seems justified.
  7. Although past and current race relations are starkly drawn, Peck's film never feels bleak. This is mainly due to Baldwin's charismatic screen presence, his passion for reasoned argument and the power of his rhetoric.
  8. Capturing the agony and ecstasy of young love, Call Me by Your Name is a major addition to the queer cinema canon - a deeply felt movie that's bittersweet, tender and true.
  9. 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.
  10. The director's technical mastery finally transcends craft to become art and, as a result, this is his best film to date.
  11. In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.
  12. A deeply felt, loving tribute to a truly remarkable woman.
  13. All of this is achieved with the signature levels of emotional intelligence that Pixar are renowned for. The level of detail with which they have created this world is staggering, with each aspect of the psyche carefully thought out.
  14. Foxtrot is a bold and imaginative portrait of the confines of family.
  15. There are numerous delights for the patient and the two leads give prize-worthy performances but at just under three hours this is one drawn-out gag that almost outstays its welcome.
  16. For all its postmodern smarts, La La Land has a heart as big as its Cinemascope screen. This is primarily down to the two leads, without their performances it would only be an empty, if impressive, exercise in dizzying technical skill and style.
  17. Featuring a breakthrough lead turn from Oscar Isaac as a struggling folk singer, the Coens have returned to the high watermark of such classic efforts as Miller's Crossing and Barton Fink.
    • 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.
  18. One More Time with Feeling is a bold poem in itself, a portrait of the artist struggling to understand the essentially incomprehensible.
  19. Sissako's film is at turns funny, poetic and deeply moving.
  20. A lovingly observed, pitch perfect coming-of-age comedy, Gerwig's warm, astute account of the end of adolescence is a stunning solo debut.
  21. 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.
  22. 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.
  23. Stylistically it is an indisputable triumph.
  24. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
  25. It's as if Wiseman has taken his cue from the old style librarians and has wanted to give a portrait of a community but without the inevitable noise that goes with it, issuing one long "shhhhhhhhh".
  26. By utilising a Herzogian blend of existentialist narration with the addition of numerous well-structured interviews (both academic and candid), Guzmán opens up the floor - and skies - to a frank and painfully honest discourse on Chile's past, present and future.
  27. 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.
  28. 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.

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