Gregory Ellwood

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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 I Lost My Body
Lowest review score: 25 Wakefield
Score distribution:
  1. Negative: 1 out of 171
171 movie reviews
    • 70 Metascore
    • 67 Gregory Ellwood
    Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.
    • 51 Metascore
    • 75 Gregory Ellwood
    Love may not be as erotic as many expect. The gratuitous sex may eventually start to bore many viewers. Some may even take off their 3D glasses because they simply aren't necessary. Yet, for all its faults, Love is a film that somehow still resonates.
    • 72 Metascore
    • 83 Gregory Ellwood
    A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.
    • 94 Metascore
    • 83 Gregory Ellwood
    Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.
    • 53 Metascore
    • 58 Gregory Ellwood
    His characters may spout Kant and debate the ethics of different human interactions, but it's only sugar coating on top of what is effectively a simple and familiar story.
    • 85 Metascore
    • 91 Gregory Ellwood
    Amy
    Amy also turns the camera back on the viewer who saw, mocked and ignored Winehouse’s descent as it transpired across the media landscape. How could the world collectively denigrate a woman whose addiction was destroying her? In this era of reactionary social media it’s a warning to all of us to be wary of stoning the next Amy in the digital town square.
    • 65 Metascore
    • 83 Gregory Ellwood
    Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.
    • 71 Metascore
    • 91 Gregory Ellwood
    Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.
    • 65 Metascore
    • 75 Gregory Ellwood
    While Bening is incredible playing a fading Hollywood starlet in Paul McGuigan’s Film Stars Don’t Die In Liverpool, it’s her co-star, Jamie Bell, who might be the film’s real secret weapon.
    • 65 Metascore
    • 58 Gregory Ellwood
    Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.
    • 80 Metascore
    • 83 Gregory Ellwood
    Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.
    • 63 Metascore
    • 58 Gregory Ellwood
    The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.
    • 90 Metascore
    • 83 Gregory Ellwood
    Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.
    • 75 Metascore
    • 75 Gregory Ellwood
    Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.
    • 78 Metascore
    • 91 Gregory Ellwood
    From a narrative standpoint, Decker and her three writing collaborators have fashioned a reasonably compelling story. What makes the film transcendent is how she uses the art of cinema to convey it and Howard’s phenomenal performance.
    • 51 Metascore
    • 75 Gregory Ellwood
    As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.
    • 67 Metascore
    • 50 Gregory Ellwood
    Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.
    • 64 Metascore
    • 58 Gregory Ellwood
    It’s well crafted and compelling at times thanks mostly to the casts’ efforts, but there is an emptiness that permeates through the film as if a significant piece of Wilde’s demise is missing.
    • 69 Metascore
    • 67 Gregory Ellwood
    Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.
    • 83 Metascore
    • 58 Gregory Ellwood
    Jenkins has a vision and something interesting to say in Private Life, but it needs some serious editing to convey it succinctly.
    • 77 Metascore
    • 83 Gregory Ellwood
    Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.

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