For 62 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 5.9 points higher than other critics. (0-100 point scale)

Ben Croll's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Shape of Water
Lowest review score: 10 Mektoub, My Love: Intermezzo
Score distribution:
  1. Positive: 47 out of 62
  2. Negative: 4 out of 62
62 movie reviews
    • 55 Metascore
    • 50 Ben Croll
    It’s all perfectly well-done, and it all recedes into memory the instant you leave the theater.
    • 73 Metascore
    • 68 Ben Croll
    Does it all work? Not quite, but you can’t fault a film for its ambition, least of all one that does manage to bring it all together for a deeply moving home stretch.
    • 72 Metascore
    • 80 Ben Croll
    Ema
    Larraín’s odd little film dances to the beat of its own drum, that’s for certain. But it does pay off in a wholly satisfying way.
    • 89 Metascore
    • 95 Ben Croll
    The craft is meticulous and the level of detail elaborate, but the story itself is simple as can be.
    • 69 Metascore
    • 70 Ben Croll
    An easy-going film that coolly ambles forward as a series of short sketches and vignettes, while maintaining a fairly detached tone.
    • 10 Metascore
    • 10 Ben Croll
    Toxically indulgent ... Add up nothing but the shots of jiggling butts and you’ll have an hour’s worth of footage.
    • 56 Metascore
    • 70 Ben Croll
    The film studiously avoids melodrama or theatrics of any sort, enfolding instead as a kind of melancholic tone poem.
    • 91 Metascore
    • 90 Ben Croll
    Bong delivers a stunning return to form with this newest venture, which takes bold leaps between tenors and tone, but holds together beautifully thanks to the director’s unparalleled visual/spatial sophistication, and his unsparing social indictment.
    • 71 Metascore
    • 88 Ben Croll
    Ly rather cleverly inoculates his film to charges of repetition by outright owning them. Of course, you’ve seen stories like before. The film freely admits, these exact same stories, these preventable tragedies and pointless injustices have been manifesting themselves for hundreds of years.
    • 93 Metascore
    • 90 Ben Croll
    Visually ravishing ... [A] piercingly intelligent treatise on art, agency and queer love in the 18th century.
    • 56 Metascore
    • 70 Ben Croll
    [A] sci-fi head trip ... If the film can be somewhat unsubtle in its thematic questions, it matches that with an equally loud color palette – and you know what, that’s perfectly fine.
    • 81 Metascore
    • 70 Ben Croll
    If the narrative can sometimes wane, the film’s enveloping atmospherics remain tight throughout.
    • 54 Metascore
    • 60 Ben Croll
    Take your seat and bask in the presence of the coolest characters actors working today, but don’t ask for more than a few chuckles. Don’t call it fan service – call it coolness oblige.
    • 68 Metascore
    • 58 Ben Croll
    What You Gonna Do When the World’s on Fire? is hardly a disappointment, but it does, in places, feel like a missed opportunity.
    • 66 Metascore
    • 50 Ben Croll
    Mike Leigh’s expansive, exhaustive, and extraordinarily thorough portrait of early 19th-century political activism is, to put it one way, deliberate in pace and tone. To put it bluntly — and in an argot more readily familiar to its cast of working-class characters — the film is bloody well dull.
    • 93 Metascore
    • 87 Ben Croll
    Not only does Shoplifters skillfully entwine several disparate threads he’s explored over his prolific career, it does so with the understated confidence and patient elegance of an artist who has fully matured.
    • 86 Metascore
    • 67 Ben Croll
    In his 2014 Palme d’Or winner, Ceylan unpacked thorny issues of ethics and morality with a surgeon’s steady patience; he employs a similar approach here, only the territory is much less fertile.
    • 73 Metascore
    • 85 Ben Croll
    Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “BPM.” Whereas Robin Campillo’s ACT-UP drama argued that the personal was political, and did so with lightning-bolt urgency, Honoré’s film is a more subdued rumination on community and connection.
    • 74 Metascore
    • 73 Ben Croll
    No one is spared in Donbass, director Sergei Loznitsa’s scathing look at the (still ongoing) war in eastern Ukraine.
    • 85 Metascore
    • 79 Ben Croll
    This is a story about power, but it’s also a story about place. More than that, you’ve really got to see it to believe it.
    • 77 Metascore
    • 67 Ben Croll
    It has a couple of nice reversals, two or three good laugh lines, and a caustic but not too acid skewering of cultural institutions. It goes down easy, it’s relatively unmemorable and it’s fine. Close, on the other hand, is exquisite.
    • 84 Metascore
    • 75 Ben Croll
    For all of its meticulous construction and often masterful craft, the film remains something to coldly admire rather than easily embrace, often playing more as a collection of accomplished filmmaking moments than as a fully enthralling whole.
    • 74 Metascore
    • 75 Ben Croll
    Though the film occasionally assumes the airs of a slow-burning thriller, the overall product remains a firmly intellectual exercise.
    • 49 Metascore
    • 65 Ben Croll
    The ultimate success of 7 Days in Entebbe varies from scene to scene, and even more from actor to actor.
    • 63 Metascore
    • 75 Ben Croll
    Unsane brims with curiosity about digital technology, discomfort with corporate bureaucracies, and is spiked through and through with icy wit – in short, it could never be anything but a Soderbergh film, and a particularly delicious one at that.
    • 58 Metascore
    • 42 Ben Croll
    Victoria & Abdul is an otherwise benignly toothless, pleasantly glossy affair, but it does force us to confront one tricky question: When treating a subject as fraught as British imperial rule, when does a film’s benign inoffensiveness become offensive in and of itself?
    • 88 Metascore
    • 91 Ben Croll
    Not only is Three Billboards Outside of Ebbing, Missouri the director’s most accomplished film yet, it’s also his most compassionate.
    • 75 Metascore
    • 91 Ben Croll
    mother! begins as a slow-burn and builds towards a furious blaze. Awash in both religious and contemporary political imagery, Darren Aronofsky’s allusive film certainly opens itself to a number of allegorical readings, but it also works as a straight-ahead head rush.
    • 42 Metascore
    • 58 Ben Croll
    An undeniably entertaining watch, Suburbicon stumbles when it tries to recycle effective old ingredients into something new.
    • 87 Metascore
    • 100 Ben Croll
    Not only is The Shape of Water one of del Toro’s most stunningly successful works, it’s also a powerful vision of a creative master feeling totally, joyously free.

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