Demetrios Matheou

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For 18 reviews, this critic has graded:
  • 38% higher than the average critic
  • 11% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Demetrios Matheou's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 90 Graves Without a Name
Lowest review score: 40 Charlie Says
Score distribution:
  1. Positive: 14 out of 18
  2. Negative: 0 out of 18
18 movie reviews
    • 65 Metascore
    • 70 Demetrios Matheou
    Sin
    Dramatically the film can feel a little one-note and overlong. But it stands comparison with Derek Jarman’s Caravaggio as a fascinating portrait of an artist fighting to survive in the cut and thrust of times quite unlike our own.
    • 69 Metascore
    • 70 Demetrios Matheou
    The journey is definitely worth making, as both people and places lead Kit slowly towards some sort of rapprochement with his identity.
    • 80 Metascore
    • 80 Demetrios Matheou
    Given the recent debates about British identity and the spike in race hatred and racially motivated crime – all as a result of Brexit – the timing of White Riot couldn’t be more apt.
    • 73 Metascore
    • 70 Demetrios Matheou
    The debut feature by Belarus-born, US-educated Darya Zhuk may be set in the mid-90s, but with a plot founded on a young Belarussian’s obsessive desire for an American visa, and a sting in the tale that chimes with the #metoo movement, it has a remarkably topical ring to it.
    • 91 Metascore
    • 90 Demetrios Matheou
    Quietly, profoundly moving.
    • 84 Metascore
    • 70 Demetrios Matheou
    That the story doesn’t play like a soap, or indeed a Ken Loach film, is down to the director’s technical and narrative approach.
    • 80 Metascore
    • 70 Demetrios Matheou
    The downside to the film is Kossakovsky’s feeling that he had to include people in the mix.
    • 81 Metascore
    • 90 Demetrios Matheou
    A dazzlingly dialectical and daring comedy/drama that skilfully brings past and present together and again challenges Jude’s compatriots to face up to the more unsavoury aspects of their history.
    • 67 Metascore
    • 80 Demetrios Matheou
    A love story between shelf stackers in a provincial superstore isn’t the most scintillating pitch. And yet, with the aid of affecting performances and a good eye for the virtuoso moves of a forklift truck, director Thomas Stuber mines the magical in the mundane.
    • 63 Metascore
    • 70 Demetrios Matheou
    There’s a freshness to the characterisations, a good eye, and for a time Cronin constructs a tense guessing game as to whether it’s mental breakdown or supernatural forces at play.
    • 68 Metascore
    • 80 Demetrios Matheou
    Never Look Away is an often moving, thoughtful drama about the correlations between personal experience, politics and art.
    • 75 Metascore
    • 80 Demetrios Matheou
    Featuring uncanny and hugely personable performances by Steve Coogan as Stan Laurel, and John C. Reilly as Oliver Hardy, and a smart script by Jeff Pope (Coogan’s co-writer on Philomena) that delivers laughs from both familiar and unexpected quarters, this is a fond, frequently very funny homage to an act that has lost none of its genius.
    • 60 Metascore
    • 70 Demetrios Matheou
    What it lacks in novelty, subtlety or character, it partially makes up in sheer abandon. This is a big, loud, violent, gleefully gory sledgehammer of a film with, crucially, a careful tongue in cheek.
    • 81 Metascore
    • 80 Demetrios Matheou
    After the disappointing martial-monster mash-up of The Great Wall, this represents a return to the majesty and emotional finesse of Hero and House of Flying Daggers.
    • 62 Metascore
    • 50 Demetrios Matheou
    There are far too many secrets and lies for one film, to the extent that what could have been a simmering tale of political complicity, greed and family disorder becomes just winds up feeling a bit silly.
    • 64 Metascore
    • 50 Demetrios Matheou
    Unlike Entertainment, which had a cracked energy about it, this has such a somnolent pace, blandly desaturated palette and sombre tone that staying the course can be a challenge.
    • 57 Metascore
    • 40 Demetrios Matheou
    Skimpy psychological insight, a clumsy structure and what turns out to be a miscast Smith all contribute towards what seems like a wasted opportunity.
    • 60 Metascore
    • 60 Demetrios Matheou
    Anyone expecting a progression in Zahler’s work may be disappointed, as the amusingly mannered dialogue starts to feel self-conscious and forced, as does the fatalism.

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