Gregory Ellwood

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Hitfix, The Playlist
For 189 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 7 points higher than other critics. (0-100 point scale)

Gregory Ellwood's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 I Lost My Body
Lowest review score: 25 Wakefield
Score distribution:
  1. Positive: 135 out of 189
  2. Mixed: 53 out of 189
  3. Negative: 1 out of 189
189 movie reviews
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    • 69 Metascore
    • 58 Gregory Ellwood
    The Animal Kingdom
    Unfortunately, Cailley’s conventional cinematic aesthetic is also often akin to a contemporary streaming movie (the first thirty minutes or seem like a television pilot) and while the visual effects are solid, there are few images that will stick with you hours after you’ve left the theater. What saves “The Animal Kingdom” is the genuine horror over this happening to anyone (Cailley gets that right, at least) and Kircher’s fantastic performance.
    • 71 Metascore
    • 42 Gregory Ellwood
    Youth (Spring)
    Over the course of three and a half hours, Bang both refutes and affirms the criticisms over working conditions for these workers, many of whom are migrants, traveling hundreds of miles (or more) to make money for their families back home.
    • 64 Metascore
    • 58 Gregory Ellwood
    Kidnapped
    While the filmmaker has a better grasp on conveying well-staged melodrama than many of his contemporaries half his age (Fabio Massimo Capogrosso’s score and Francesco Di Giacomo‘s cinematography assist), the heart of the story somehow still gets lost. Even a final scene that should capture the tragedy of this tale falls surprisingly flat.
    • 78 Metascore
    • 67 Gregory Ellwood
    Four Daughters
    Despite Ben Hania sticking to her cinematic formula “Four Daughters” is genuinely hard to forget. It will linger with you for days afterward. That’s mostly due to Olfa’s heartbreaking perseverance to find her children and a wee bit of Ben Hania’s storytelling skill too.
    • 98 Metascore
    • 91 Gregory Ellwood
    The Zone of Interest
    This is a film you can dissect for hours. A movie full of details and creative choices that will spur debate and passion. Another work of Glazer’s full of images that may haunt you for weeks. And well worth almost the decade it took to get here.
    • 81 Metascore
    • 67 Gregory Ellwood
    Kokomo City
    The subjects of Kokomo City are quote machines, but their strength is that they make you listen to what they are actually saying and digest their opinions. Oh, no, they are not just here to entertain you. Points will be made.
    • 68 Metascore
    • 58 Gregory Ellwood
    Fairyland
    Disappointingly, and despite the best intentions, Durham’s overwritten script diminishes some potentially truly moving moments over the course of the picture. There is simply too much clunky exposition.
    • 66 Metascore
    • 67 Gregory Ellwood
    Theater Camp
    The best news is that the songs, by Galvin, Gordon, Lieberman, Platt, and Mark Sonnenblick (“Spirited,” “Lyle Lyle Crocodile”) were written beforehand. Those compositions contribute to the one-time-only musical performance that practically saves the movie. The songs and staging of the show are simply hilarious.
    • 66 Metascore
    • 67 Gregory Ellwood
    Sometimes I Think About Dying
    It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.
    • 81 Metascore
    • 91 Gregory Ellwood
    Cassandro
    Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.
    • 52 Metascore
    • 50 Gregory Ellwood
    Allelujah
    Perhaps it worked better as a theatrical endeavor, but the result is a film that feels like a collection of familiar hospital set storylines thrown together without a true compelling throughline.
    • 50 Metascore
    • 75 Gregory Ellwood
    My Policeman
    Styles, night and day here compared to his work in that other fall release, wonderfully inhabits a working-class man fearful of public scrutiny but unable to hide his true self.
    • 72 Metascore
    • 75 Gregory Ellwood
    Bros
    You wish the film had a slightly more queer eye behind the camera (yes, that’s a genuine thing, Andrew Ahn’s “Fire Island” is an excellent recent example). Even for a major studio production, it might have helped. But if everyone around you is laughing, maybe it doesn’t matter. It probably means another Bros gets made which, hey, wouldn’t be a bad thing at all.
    • 67 Metascore
    • 67 Gregory Ellwood
    Lady Chatterley's Lover
    Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.
    • 54 Metascore
    • 75 Gregory Ellwood
    Empire of Light
    Despite Deakins and Mendes’ shorthand in framing gorgeous images, there are moments, especially in the second act, where the film could simply use a bit more energy. Luckily, for Mendes, Colman provides it soon after and when the movie needs it most.
    • 79 Metascore
    • 83 Gregory Ellwood
    Women Talking
    Dense isn’t always used as a compliment when describing a movie, but in the case of Women Talking it’s a badge of honor. Polley is tackling numerous social dynamics among the women as well as a number of contemporary themes including women’s roles in society, religious freedom, sexual liberation, and even gender identity.
    • 71 Metascore
    • 67 Gregory Ellwood
    The Wonder
    As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.
    • 69 Metascore
    • 58 Gregory Ellwood
    War Pony
    At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.
    • 69 Metascore
    • 67 Gregory Ellwood
    God's Creatures
    While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.
    • 81 Metascore
    • 91 Gregory Ellwood
    Close
    Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.
    • 81 Metascore
    • 75 Gregory Ellwood
    R.M.N.
    The power of Mungiu’s work is his writing. Like much of Eastern European cinema of the past decade, he’s crafted a morality tale that should prompt a viewer to take a look at themselves in the mirror wherever they may live. And if it ends without any hint of resolution? With barely a glimmer of hope? So be it.
    • 41 Metascore
    • 42 Gregory Ellwood
    Moonfall
    It may be bloated, but Moonfall always feels like it’s moving at a somewhat brisk pace. And the filmmaker’s greatest talent is collaborating with visual effects teams to craft images that somehow get seared in your brain.
    • 74 Metascore
    • 83 Gregory Ellwood
    Utama
    Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.
    • 75 Metascore
    • 75 Gregory Ellwood
    Emily the Criminal
    There are definitely some logical gaps in Ford’s screenplay and perhaps the consequences could be slightly more dangerous (intriguingly, guns barely appear throughout the proceedings), but as a filmmaker, he displays a keen awareness of racking up the tension when necessary and not overdoing it when it’s not.
    • 81 Metascore
    • 83 Gregory Ellwood
    Living
    In the end, it’s a stellar turn from Sharp that dots the I’s and crosses the t’s when the tear ducts begin to flow. And you realize how marvelously constructed the whole endeavor is.
    • 62 Metascore
    • 67 Gregory Ellwood
    Call Jane
    When the film works, it’s often because Banks confidently carries so much of it on her own shoulders.
    • 89 Metascore
    • 58 Gregory Ellwood
    Great Freedom
    Despite a very frank and welcome illustration of gay sexuality rarely seen in modern media (in this manner at least), Greater Freedom continually teases us with storylines and subject matter by choosing to frame this era through a relationship that it cannot rationalize.
    • 76 Metascore
    • 83 Gregory Ellwood
    Son of Monarchs
    Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.
    • 73 Metascore
    • 67 Gregory Ellwood
    Montana Story
    It’s a subtle and poignant performance that makes you eager for Richardson to have an even bigger spotlight in he next endeavor.
    • 81 Metascore
    • 67 Gregory Ellwood
    Benediction
    Despite Davis’ lyrical direction, the obvious gaps in the screenplay provide too many holes for what strives to be a definitive portrait of an exceptional talent.
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