Gregory Ellwood

Select another critic »
For 171 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 7.8 points higher than other critics. (0-100 point scale)

Gregory Ellwood's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Call Me by Your Name
Lowest review score: 25 Wakefield
Score distribution:
  1. Negative: 1 out of 171
171 movie reviews
    • 68 Metascore
    • 58 Gregory Ellwood
    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.
    • 67 Metascore
    • 67 Gregory Ellwood
    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.
    • 83 Metascore
    • 91 Gregory Ellwood
    Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.
    • 74 Metascore
    • 75 Gregory Ellwood
    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
    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.
    • 80 Metascore
    • 83 Gregory Ellwood
    Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.
    • 75 Metascore
    • 75 Gregory Ellwood
    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
    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.
    • 65 Metascore
    • 67 Gregory Ellwood
    When the film works, it’s often because Banks confidently carries so much of it on her own shoulders.
    • 89 Metascore
    • 58 Gregory Ellwood
    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
    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
    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
    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.
    • 57 Metascore
    • 50 Gregory Ellwood
    The film’s saving graces is not only Ahmed, who, as you’d expect, elevates the material every chance he gets, but his on-screen connection with Chauhan. Somehow, the relatively unknown Canadian actor gives one of the best performances from a young actor in recent memory.
    • 63 Metascore
    • 50 Gregory Ellwood
    You can certainly respect Sharpe for taking a big swing in this regard, but he can’t bring the proceedings back to earth when the audience needs some sort of emotional investment. This also ends up hampering Cumberbatch, who is giving one of the most committed performances of his life, but only to find it buried under all of the film’s extracurricular aspects.
    • 66 Metascore
    • 67 Gregory Ellwood
    This version of Cyrano feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years.
    • 76 Metascore
    • 75 Gregory Ellwood
    The filmmakers are beyond lucky to have the performances from Smith and Ellis, as well as Venus’ own incredible story, to keep you captivated when it matters most.
    • 78 Metascore
    • 67 Gregory Ellwood
    The storyline is so predictable, in fact, that despite Lafosse’s skills at crafting a scene the narrative simply leaves you wanting. The actors, on the other hand, carry most of your attention because they simply have to.
    • 76 Metascore
    • 83 Gregory Ellwood
    Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.
    • 91 Metascore
    • 91 Gregory Ellwood
    Despite what may initially seem to be a somewhat straightforward contemporary drama, Hamaguchi has crafted a rich, skilfully layered masterwork with flawless performances and a script that is a screenwriter’s holy grail. It sticks in your brain for days and nudges you to take it in again.
    • 61 Metascore
    • 67 Gregory Ellwood
    No one would deny Sisto clearly has a vision of what he’d like to accomplish and shows flashes of humor here and there, but the almost overt influences of any number of other filmmakers (Michael Haneke, ‎Yorgos Lanthimos, and Sean Durkin immediately come to mind) have the cumulative effect of making the proceedings feel numbingly familiar.
    • 75 Metascore
    • 83 Gregory Ellwood
    What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.
    • 91 Metascore
    • 91 Gregory Ellwood
    To say it’s a stellar feat of cinema is something of an understatement.
    • 74 Metascore
    • 83 Gregory Ellwood
    It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.
    • 76 Metascore
    • 67 Gregory Ellwood
    Ewing makes a creative decision in the final act of the picture which simply sucks all the air out of the room.
    • 73 Metascore
    • 75 Gregory Ellwood
    What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults
    • 72 Metascore
    • 91 Gregory Ellwood
    Nine Days is the sort of original cinematic art that, these days, is few and far between.
    • 88 Metascore
    • 75 Gregory Ellwood
    Despite the efforts of Hopkins and an outstanding ensemble, Zeller can’t divorce his feature directorial debut from its theatrical origins.
    • 89 Metascore
    • 91 Gregory Ellwood
    There is barely a manufactured minute in the film. Everything fits together organically and in a narrative film that is much harder to pull off than it sounds.
    • 67 Metascore
    • 58 Gregory Ellwood
    At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

Top Trailers