CineVue's Scores

  • Movies
For 559 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Paterson
Lowest review score: 20 Plastic
Score distribution:
  1. Negative: 17 out of 559
559 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.
    • 95 Metascore
    • 80 Critic Score
    A beautiful entity, near flawless in design, any talk of accolades certainly seems justified.
  2. 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.
  3. In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.
  4. 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.
  5. 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.
  6. Larraín is as good at navigating the treacherous waters of internal White House politics as he is capturing the moments of intense, if numbed, private suffering.
    • 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.
  7. One More Time with Feeling is a bold poem in itself, a portrait of the artist struggling to understand the essentially incomprehensible.
  8. Sissako's film is at turns funny, poetic and deeply moving.
  9. 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.
  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. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  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. Taking Eastern watercolours as inspiration, the aesthetic is impressionistic and painterly with a fluidity that imbues the piece with an intrinsic magic.
  19. Son of Saul is not simply a good film, it feels like an urgent and important one, a warning from history.
  20. 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.
  21. 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.
  22. Petzold's Phoenix is a high-concept premise executed as a heart-wrenching character piece.
    • 89 Metascore
    • 80 Critic Score
    Being 17's great strength is the two utterly engrossing performances given by its leads and their exhilarating chemistry is conveyed with equal sensitivity during their tussles, as it is in every small glance and gesture.
  23. Diaz's From What Is Before is an enthralling, thought-provoking, elegant and tragic wonder.
  24. 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.
  25. 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.
  26. 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.
  27. Despite treading some familiar territory, British director David Mackenzie's new film Hell or High Water proves itself a brilliantly executed, sharply written genre gem.

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