Gregory Ellwood

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For 171 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% 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 I Lost My Body
Lowest review score: 25 Wakefield
Score distribution:
  1. Negative: 1 out of 171
171 movie reviews
    • 59 Metascore
    • 58 Gregory Ellwood
    Demange, who earned glowing reviews for his debut “’71,” tries to guide all these plotlines and characters with a steady hand, but it often feels too unwieldy. There are simply too many storylines and threads competing with each other. The result is a movie that it feels like snippets of a life instead of a portrait of one.
    • 78 Metascore
    • 91 Gregory Ellwood
    Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.
    • 87 Metascore
    • 83 Gregory Ellwood
    Israel, as noted by her own writing, had a caustic wit that works with McCarthy’s comedic talents. She also brings a depth of emotion to Israel that comes to a head in a wonderfully composed scene with Grant at the end of the film.
    • 69 Metascore
    • 58 Gregory Ellwood
    Boy Erased has problems depicting the fear, intimidation and psychological trauma such programs can inflict on even the most willing of participants. But that’s likely because, at its core, the film isn’t really about the gay conversion experience.
    • 62 Metascore
    • 83 Gregory Ellwood
    When Kusuma, Kidman and Destroyer finally kick it into high gear it’s so, so worth the wait.
    • 61 Metascore
    • 83 Gregory Ellwood
    Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.
    • 66 Metascore
    • 58 Gregory Ellwood
    While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.
    • 80 Metascore
    • 83 Gregory Ellwood
    The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.
    • 78 Metascore
    • 83 Gregory Ellwood
    It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.
    • 75 Metascore
    • 91 Gregory Ellwood
    Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.
    • 37 Metascore
    • 42 Gregory Ellwood
    Despite youngster Aksoy-Etaix’s commendable performance, not only will you not believe, you also won’t care.
    • 72 Metascore
    • 42 Gregory Ellwood
    The problem with Dosunmu’s follow-up to the more compelling “Mother Of George” is that there is so little story — and what story there is moves at such a snail’s pace — that all you have to look at are Young’s impressive compositions and then you wait…and then wait some more.
    • 75 Metascore
    • 83 Gregory Ellwood
    Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.
    • 67 Metascore
    • 75 Gregory Ellwood
    Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.
    • 58 Metascore
    • 67 Gregory Ellwood
    Gilroy has fashioned a character study that has moments that are incredibly well written.... What’s extremely disappointing is that the screenplay’s through line is simply not that interesting.
    • 72 Metascore
    • 91 Gregory Ellwood
    If not for Sareum’s charismatic performance the film might fold like a house of cards.
    • 73 Metascore
    • 75 Gregory Ellwood
    The conflicts are obviously real, but there is something about the tone that’s just off through most of the picture.
    • 88 Metascore
    • 91 Gregory Ellwood
    What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.
    • 63 Metascore
    • 83 Gregory Ellwood
    “Five Foot Two” is mostly about a woman pushing forward with her career in pain, and we’re talking chronic literal pain.
    • 93 Metascore
    • 75 Gregory Ellwood
    There are two things that make this movie stand apart: Metcalf and Gerwig.
    • 46 Metascore
    • 42 Gregory Ellwood
    The worst aspect of ‘Rebel’ is that Strong seems to have no vision as a filmmaker. The movie thinks it’s throwing in some wise words about the art of writing, but they are superficial at best.
    • 75 Metascore
    • 91 Gregory Ellwood
    Few would argue that Oldman isn’t one of the finest actors of his generation, but this is a tour de force portrayal that will define his body of work for decades to come.
    • 67 Metascore
    • 91 Gregory Ellwood
    How many times have you read that it’s really hard to duplicate the success of the first film in a sequel? Probably more than you can remember. Well, here’s a newsflash: Guardians of the Galaxy, Vol. 2 pulls that feat off with only a little strain and a belly of genuine emotion.
    • 62 Metascore
    • 25 Gregory Ellwood
    It goes without saying that Cranston has a lot to carry on his shoulders and he does an admirable job. It’s hard not to laugh every so often at one of Wakefield’s snide remarks and that’s effectively because of how Cranston sells it. But even this accomplished actor can’t make you feel any sympathy for a character whose actions defy convention in the most unimaginative ways.
    • 67 Metascore
    • 75 Gregory Ellwood
    Considering how much screen time they share together, Lister-Jones and Pally need to have fantastic chemistry to keep the audience rooting for Anna and Ben and, luckily, they have more than enough.
    • 67 Metascore
    • 83 Gregory Ellwood
    At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.
    • 85 Metascore
    • 67 Gregory Ellwood
    While you know where “God’s Own” is going most of the way Lee finds a way to breathe new life into it (to a point).
    • 72 Metascore
    • 58 Gregory Ellwood
    As the story progresses it becomes less and less interesting and worst of all – gasp – cliché.
    • 56 Metascore
    • 50 Gregory Ellwood
    There are elements of “The Yellow Birds” that should equate to a unique cinematic experience. Unfortunately, like Bartle’s return home, you leave the theater somewhat dazed, confused and thinking of what went wrong.
    • 85 Metascore
    • 83 Gregory Ellwood
    Mudbound soars thanks to the impressive performances of the ensemble cast and, notably, Rees’ intent on depicting the harsh reality of this pre-Civil Rights era, warts and all.

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