Demetrios Matheou

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For 13 reviews, this critic has graded:
  • 46% higher than the average critic
  • 0% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.7 points higher than other critics. (0-100 point scale)

Demetrios Matheou's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 90 I Do Not Care If We Go Down in History as Barbarians
Lowest review score: 40 Charlie Says
Score distribution:
  1. Positive: 9 out of 13
  2. Negative: 0 out of 13
13 movie reviews
    • 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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