For 19 reviews, this critic has graded:
  • 31% higher than the average critic
  • 0% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Greg Cwik's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Legend of the Mountain (1979)
Lowest review score: 50 At Eternity's Gate
Score distribution:
  1. Positive: 14 out of 19
  2. Negative: 0 out of 19
19 movie reviews
    • 76 Metascore
    • 63 Greg Cwik
    In their best films, the Coens mine the depths of loneliness and egotism and frailty and solipsism. But in THE BALLAD OF BUSTER SCRUGGS there's a noticeable lack of deeper insinuation, a lack of curiosity.
    • 63 Metascore
    • 63 Greg Cwik
    A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry’s most chaotic and unmuffled film — until it isn’t.
    • 72 Metascore
    • 50 Greg Cwik
    This is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise, the efforts of a filmmaker whose affinity for abstractions often interfere with the story he’s trying to tell, and distract from the purported subject of the film.
    • 82 Metascore
    • 75 Greg Cwik
    Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power, and the space between banal utterances become chasms.
    • 85 Metascore
    • 100 Greg Cwik
    After more than 20 features, Paul Schrader has been reborn with First Reformed, an unhurried, furious, deeply agonized look at faith and skepticism that’s as reverent as it is blasphemous.
    • 58 Metascore
    • 63 Greg Cwik
    The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with.
    • 63 Metascore
    • 50 Greg Cwik
    An incessant deluge of subplots drowns what could have been a sparse and beautiful ghost story.
    • 84 Metascore
    • 63 Greg Cwik
    Lynne Ramsay's You Were Never Really Here could be considered artsy exploitation, a film whose formal dexterity belies its debts to its chosen, and quite squalid, genre.
    • 70 Metascore
    • 63 Greg Cwik
    Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous.
    • 67 Metascore
    • 100 Greg Cwik
    Every pan and snap zoom and dissolve is exact, every whorl of smoke and wind-thrown swath of leaves pulled from a dream and placed methodically before our eyes.
    • 77 Metascore
    • 63 Greg Cwik
    The film is about the idea of Andy Kaufman, about how artists channel their influences and keep the dead alive.
    • 75 Metascore
    • 63 Greg Cwik
    The fractured rhythm of 1945 and the desolate aesthetic are engrossing, but Ferenc Török's film doesn't linger.
    • 72 Metascore
    • 50 Greg Cwik
    It's an exercise in joviality, unflinching in its love for Joan Didion, and unwilling to be much more.
    • 73 Metascore
    • 63 Greg Cwik
    The characters' emotional vacancy feels like another auteurist tic to which Yorgos Lanthimos is dauntlessly committed.
    • 45 Metascore
    • 50 Greg Cwik
    The tone throughout vacillates wildly from silly comedy to classic Hollywood melodrama, and all of it feels as artificial and unsatisfying as the cotton candy twirling in a vending cart.
    • 71 Metascore
    • 50 Greg Cwik
    Sylvio's banal depictions of everyday loneliness through the diurnal tedium of an anthropomorphic animal brings to mind BoJack Horseman, but without the caustic navel-gazing and self-destruction or the mordant pop-culture musings.
    • 79 Metascore
    • 75 Greg Cwik
    Brawl in Cell Block 99 rarely drags, even when delivering exposition, and the economy of the storytelling is as efficiently brutal as the eventual skull-crackings.
    • 64 Metascore
    • 75 Greg Cwik
    On its own, this is a fun, broadly satirical alien-invasion film, more self-aware than self-serious, but its beauty, its poignancy, comes from its relationship to Kiyoshi Kurosawa's other work.
    • 79 Metascore
    • 88 Greg Cwik
    Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings.

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