Empire's Scores

  • Movies
For 2,483 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Fighter
Lowest review score: 20 Æon Flux
Score distribution:
2,483 movie reviews
    • 74 Metascore
    • 80 Critic Score
    An ambitious and quite beautifully conceived fairy tale for the 90s.
  1. Considering the ignominy of its path to British cinemas, it’s hard not to approach the film with caution, but after a few minutes in the company of an unusually low-key but typically world-weary Al Pacino, it begins to win you over, dragging you deeper into the sleazy political underworld it describes.
  2. It’s soppy and sentimental, and it’s no longer possible to take the famous pottery sequence seriously, but some neat special effects and a healthy dose of humour prevent it from becoming mawkish.
  3. A finely-acted, sensitively-written tale.
  4. Of sentiment there is too much and the final sequence when the white men inevitably rear their heads and raise their rifles so fraught with tears and peril as to be exhaustingly melodramatic.
  5. The allusions and illusions are just a treat until about two-thirds of the way in, when a genuinely shocking development takes the film off into psycho-horror that is almost as baffling as it is unsatisfying.
    • 66 Metascore
    • 80 Critic Score
    Jack Nicholson as The Joker helpfully provides all the colour.
    • 78 Metascore
    • 80 Critic Score
    Despite some gags which use the benefit of hindsight too much for their own good, this is a smart piece of filmmaking which suggests Linklater is already one of the more formidable talents of the 90s.
  6. If your anti-Apartheid musical knowledge only goes as far as The Specials’ Free Nelson Mandela, this is a toe-tapping, thought-provoking education.
    • 61 Metascore
    • 80 Critic Score
    Has something for everyone.
  7. No-one can walk out of this and say they didn't see the whole hundred mil up there on the screen in exploding vehicles, wrecked buildings, monster effects and sheer sweaty action.
  8. Louis Sachar's compelling children's classic is about as Disney as Freddy Krueger. It's got murder, racism, facial disfigurement and killer lizards.
  9. William H. Macy is a scream as the composite radio announcer whose hyperbolic racetrack reports are not only hilarious, but illustrate the impact of radio in creating a mass culture and how it was instrumental in making sporting events a nationwide obsession.
  10. Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.
  11. A script with a streak of clever cynicism and poignancy, a soundtrack of tunes you thought had long since departed to the vinyl graveyard and one of the most adorable screen pairings in ages in Sandler and Barrymore and the result is a film which, while hardly high art, is simply irresistible.
  12. The feel-good hit of the year thus far. Be warned, though: if you think a little Jack Black goes a long way, then this isn’t for you.
  13. Ultimately this is a film about feelings, moments and things not said. Like "Lost In Translation," it’s about what happens when people living in their own little worlds collide.
  14. Two things make Eastwood's task easier for him: a superb cast and a cracking source novel. Dennis Lehane's book is one of the very best thrillers of recent years, richer in Boston detail and closer in character study than anything Eastwood manages to bring to the screen.
  15. Another of the film's positive aspects is its narrative style, reminiscent of Akira Kurosawa's Rashomon.
  16. There is much to admire in Vol. 1, not least a performance from Uma Thurman as steely as the plate in her character’s head and a knowing soundtrack that effortlessly smears the boundaries between east and west.
  17. This powerful film offers no excuses for Sandro’s actions, but his situation demands our empathy.
  18. Stealing the show is Suzanne Flon's immaculate display as the matriarch whose good-natured indulgence of her ghastly relations belies a guilty secret. Mercilessly acute and quietly devastating.
  19. It's the familiarity of it all that makes this a movie for movie-lovers: those who like good old-fashioned popcorn entertainment that reminds them of their favourite films.
    • 70 Metascore
    • 80 Critic Score
    Patricia Clarkson's standout performance as Joy is as honest as it gets, and writer-director Hodges treats her sickness not with pity but great understanding.
    • 56 Metascore
    • 80 Critic Score
    Though the sketchy narrative could do with a bit of filling out, and the settings could be less gloomy, this is a memorable interpretation that benefits enormously from sound casting decisions.
  20. Gripping, claustrophobic drama.
  21. The results are highly subjective perhaps, but highly entertaining just the same and make an interesting companion piece to Nick Broomfield’s "Biggie And Tupac."
  22. It’s as wistful and sad as it is funny and charming, with the first of Nino Rota’s great scores to keep it burbling along.
  23. Probably the best Western since "Unforgiven."
  24. A delightfully obscene alternative to the usual Christmas tosh.

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