CineVue's Scores

  • Movies
For 374 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 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Look of Silence
Lowest review score: 20 Before I Go to Sleep
Score distribution:
  1. Negative: 11 out of 374
374 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. Anomalisa might be bizarre, surreal and far out, but it always feels paradoxically real, grounded and deeply true.
    • 95 Metascore
    • 80 Critic Score
    A beautiful entity, near flawless in design, any talk of accolades certainly seems justified.
  3. In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.
  4. 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.
    • 92 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.
  5. 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.
  6. 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.
  7. Son of Saul is not simply a good film, it feels like an urgent and important one, a warning from history.
  8. Sissako's film is at turns funny, poetic and deeply moving.
  9. At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
  10. 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.
  11. Petzold's Phoenix is a high-concept premise executed as a heart-wrenching character piece.
  12. 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.
  13. This isn't 'The War' but rather an ordinary singular one, undistinguished from other such things. Thankfully, Lindholm's filmmaking prowess imbues it with compelling power.
  14. Taking Eastern watercolours as inspiration, the aesthetic is impressionistic and painterly with a fluidity that imbues the piece with an intrinsic magic.
  15. 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.
  16. 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.
  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. 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.
  19. 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.
  20. 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.
  21. Birdman is a rich, startlingly clever and multi-layered collage, with Iñárritu creating a meta-universe of mirrors and performances upon performances.
    • 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.
    • 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.
  22. 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.
  23. Force Majeure is a gripping and deftly observed drama that adds caustic condemnation through its embracing of humour.
    • 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.
  24. It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.
  25. Although the narrative risks becoming arbitrarily episodic towards the end, Neon Bull is a genuine celebration of its characters and their grounded physical life as well as their obstinate ability to dream.

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