For 43 reviews, this critic has graded:
  • 44% higher than the average critic
  • 0% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 9 points higher than other critics. (0-100 point scale)

Geoff Andrew's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 On the Waterfront
Lowest review score: 30 Any Which Way You Can
Score distribution:
  1. Positive: 31 out of 43
  2. Negative: 2 out of 43
43 movie reviews
    • 39 Metascore
    • 40 Geoff Andrew
    The script – chronologically linear yet disjointed, averse to melodrama yet often clichéd in a ‘hello Monet, hello Rilke’ kind of way – is deeply inadequate.
    • 90 Metascore
    • 80 Geoff Andrew
    Both a slow-burn suspense drama and an intriguing enigma, his film is beautifully executed throughout: the three lead performances are all spot on, while Mowg’s jazzy score and Hong Kyung-pyo’s immaculate camerawork fit the shifting moods to perfection.
    • 93 Metascore
    • 80 Geoff Andrew
    Boasting excellent performances all round (with the writer-director once again demonstrating his expertise with children), Shoplifters is another charming, funny and very affecting example of Kore-eda’s special brand of tough-but-tender humanism.
    • 84 Metascore
    • 80 Geoff Andrew
    Coming after her uneven "We Need to Talk About Kevin," Ramsay’s latest — a complete return to form — reminds us of a hugely audacious and imaginative talent, one that only needs to find the right material to glitter, darkly.
    • 63 Metascore
    • 40 Geoff Andrew
    A wishy-washy, sanctimonious plea for tolerance, directed with Kramer's customary verbosity and stodginess.
    • 40 Metascore
    • 60 Geoff Andrew
    The result, despite an uncertain start, is in the end a surprisingly intriguing and affecting movie.
    • 74 Metascore
    • 80 Geoff Andrew
    At once compassionate, engrossing from start to finish, and utterly relevant.
    • 90 Metascore
    • 80 Geoff Andrew
    Art, the film suggests, is about first noticing then communing with the world around you. In that sense, it’s another wise, wonderful Jarmusch movie about the importance, in this sad and beautiful world, of friendship and love.
    • 62 Metascore
    • 60 Geoff Andrew
    If there’s nothing profoundly original or insightful here, there’s no denying the atmosphere of squalid authenticity, particularly in the scenes shot on the streets.
    • 88 Metascore
    • 80 Geoff Andrew
    The virtue of Aquarius – the title, incidentally, alludes to the name of the block Clara lives in – is that it never feels the need to sermonise: its ethical, political and psychological insights are carefully contained within a consistently compelling narrative that feels fluid, relevant and true.
    • 57 Metascore
    • 60 Geoff Andrew
    The performances are solid, even if the age difference between the two female leads may strike some as a little disconcerting.
    • 65 Metascore
    • 80 Geoff Andrew
    Eschewing metaphor and mysticism (save insofar as his characters adopt them), [Dumont] has for once given us a film of immense visual beauty, thematic clarity and subtle resonance.
    • 83 Metascore
    • 80 Geoff Andrew
    Though it’s most successful as a character study, the movie also works as an unusually honest variation on the traditional cinematic love story (it rings especially true on the difficulties of starting over after years of settled family life).
    • 51 Metascore
    • 40 Geoff Andrew
    Unfortunately, Arnaud de Pallieres’s film succeeds neither as a decent adaptation of the book nor as a rewarding movie in its own right.
    • 93 Metascore
    • 100 Geoff Andrew
    Effortlessly moving from comedy to serious social comment, eliciting excellent performances from a large and perfectly selected cast, and making superb use of music both to create mood and comment on the action, Lee contrives to see both sides of each conflict without falling prey to simplistic sentimentality.
    • 72 Metascore
    • 50 Geoff Andrew
    Poor songs (Hello Young Lovers, Getting to Know You), fair choreography, poor script, nice photography.
    • 51 Metascore
    • 30 Geoff Andrew
    Eastwood at his least appealing in a poor sequel to the already disappointing redneck comedy of Every Which Way But Loose. The story is similarly thin - trucker Eastwood, accompanied by his orang-utan buddy Clyde, gets involved in repetitive brawls with sundry unsavoury brutes - while the humour is far too broad and the direction plodding.
    • 97 Metascore
    • 80 Geoff Andrew
    Too full of incident to reflect a typical night in reality, it's nevertheless funny, perceptive, pepped up by a great soundtrack, and also something of a text-book lesson in parallel editing as it follows a multitude of adolescents through their various adventures with sex, booze, music and cars.
    • 61 Metascore
    • 70 Geoff Andrew
    Bluth has rediscovered the ingredients of quality mainstream animation: depth and movement are more in evidence, and the action sequences are expertly staged, notably a harrowing train crash.
    • 67 Metascore
    • 60 Geoff Andrew
    A scattering of fine one-liners , but one can't help wishing that Allen would investigate pastures new.
    • 74 Metascore
    • 80 Geoff Andrew
    Making use of locals instead of professional actors lends authenticity to this impressive look at a group of otherwise innocuous teenage lads in a boring northern French town (Bailleul in Flanders), driven to violence by a mixture of boredom, jealousy, macho pride and ingrained racism.
    • 78 Metascore
    • 80 Geoff Andrew
    Bitter-sweet and very charming.
    • 67 Metascore
    • 80 Geoff Andrew
    Scott's sword and sandal spectacular is a bloody good yarn, packed with epic pomp and pageantry, dastardly plots, massed action and forthright, fundamental emotions.
    • 85 Metascore
    • 100 Geoff Andrew
    A magnificent movie that transcends its familiar tale of a reformed gunman forced by circumstance to resume his violent ways.
    • 96 Metascore
    • 90 Geoff Andrew
    What really transforms the piece from a rather talky demonstration that a man is innocent until proven guilty, is the consistently taut, sweltering atmosphere, created largely by Boris Kaufman's excellent camerawork. The result, however devoid of action, is a strangely realistic thriller.
    • 56 Metascore
    • 50 Geoff Andrew
    For all its audacity, a misguided folly.
    • 64 Metascore
    • 90 Geoff Andrew
    With Williams giving a virtuoso fast-mumbling performance as the hero, and gags ranging from expertly choreographed slapstick to subtle verbal infelicities (Popeye muttering about 'venerable disease'), it is far too sophisticated to function merely as kids' fodder. Often, watching the actors contorting themselves into non-human shapes, you wonder how on earth Altman did it; equally often, you feel you are watching a wacky masterpiece, the like of which you've never seen before.
    • 74 Metascore
    • 80 Geoff Andrew
    Despite the film's conspicuously minuscule budget and shaky narrative structure, it is funny. If you value enthusiasm and imagination more than glossy sophistication, you'll laugh.
    • 61 Metascore
    • 30 Geoff Andrew
    The Bond films were bad enough even with the partially ironic performances of Connery. Here, featuring the stunning nonentity Lazenby, there are no redeeming features.
    • 91 Metascore
    • 100 Geoff Andrew
    Politics apart, though, it's pretty electrifying.

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