For 724 reviews, this critic has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Things to Come
Lowest review score: 0 The Murder of Nicole Brown Simpson
Score distribution:
  1. Negative: 42 out of 724
724 movie reviews
    • 73 Metascore
    • 80 Guy Lodge
    This is a predominantly observational affair, marked by unusual tenderness and human interest, shot with a camera that feels all but invisible to its subjects — belying the director’s delicate, precise approach to light and framing.
    • 75 Metascore
    • 80 Guy Lodge
    Tartly funny and plungingly sad in equal measure, this is nuanced, humane queer filmmaking, more concerned with the textures and particulars of its own intimate story than with grander social statements — even if, as a tale of transgender desire in a Muslim country, its very premise makes it a boundary-breaker.
    • 47 Metascore
    • 50 Guy Lodge
    The film is too emotionally blunt not to wring tears (or at least a solid lump in the throat) where required, though they don’t always feel artfully earned. Either way, at over two hours, it’s a long trudge toward an inevitable end.
    • 56 Metascore
    • 70 Guy Lodge
    The film’s intimate scenes of mother-son discord are remarkable, played with raw, nerve-pushing testiness by two first-time actors.
    • 74 Metascore
    • 80 Guy Lodge
    [A] winningly sweet-natured, visually transporting adaptation.
    • tbd Metascore
    • 60 Guy Lodge
    Via a blend of free narrative speculation and exacting musical presentation, Petr Vaclav’s stately, sumptuous biopic Il Boemo seeks to restore a degree of iconic status to a talent latterly overshadowed by relative 18th-century contemporaries, albeit not with much swagger or modernity of its own: This is costume drama of a traditional, ornately brocaded stripe, a classical music lesson for classicists.
    • 68 Metascore
    • 60 Guy Lodge
    The film, on balance, is cheery, sherbet-colored stuff, bursting with goodwill for all good people. What you remember from it, however, is each scene in which elder malevolence deliciously spoils the party.
    • tbd Metascore
    • 30 Guy Lodge
    A phony, flimsy attempt at vintage noir.
    • 73 Metascore
    • 70 Guy Lodge
    The Girl With a Bracelet comments intelligently on our culture’s propensity to sex-shame and emotionally instruct young women in particular — points which stand regardless of whether shedunnit or not.
    • 76 Metascore
    • 90 Guy Lodge
    Zlotowski’s deft, perceptive original screenplay is keenly attuned to the cutting emotional impact of a passing remark or overheard jab, and the unintended microaggressions that parents occasionally toss at their child-free peers.
    • 59 Metascore
    • 40 Guy Lodge
    Master Gardener is all fingers and thumbs for much of its running time, kept sporadically in order only by the stern, trusty presence of Edgerton himself.
    • 57 Metascore
    • 50 Guy Lodge
    It didactically calls out governmental hypocrisy while exposing corrupt elements and inefficiencies within the precious institution itself. It hedges its bets politically between nostalgic keening for a kinder, fairer Britain of old and advocating for a top-down socialist makeover. It wavers tonally between cozy comedy and head-on polemic.
    • 60 Metascore
    • 70 Guy Lodge
    Layering one wild formal flourish over another — from macabre stop-motion animation to elaborately choreographed musical fantasies — to channel the inner lives of two young women who communicated only with each other, keeping the rest of the world outside their circle, it’s a swing for the fences that sometimes, almost by design, spins out of control.
    • 75 Metascore
    • 80 Guy Lodge
    The film demonstrates its director’s characteristic nose for strong material and knack for gripping, straightforward storytelling.
    • 72 Metascore
    • 60 Guy Lodge
    Koji Fukada’s Love Life unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving.
    • 87 Metascore
    • 100 Guy Lodge
    The result feels closer than any of his previous films to the barbed, intimate lyricism of McDonagh’s work as a playwright, and more deeply, sorrowfully felt to boot.
    • 78 Metascore
    • 80 Guy Lodge
    That Argentina, 1985 managed to toggle between such emotionally raw material and more amped-up, tension-driven subplots — as Strassera and his family weather death threats and cars explode in public squares — without seeming callous or dramatically opportunistic is a credit to Mitre, whose grasp on his story is high-key and emotionally immediate, but never glib.
    • 74 Metascore
    • 70 Guy Lodge
    The final film is elegant and empathetic, but never quite emotionally involving: For all its rich, heightened articulation of a woman’s distress and unrest, the sense of a life being academically magnified under glass never quite leaves the endeavor.
    • tbd Metascore
    • 80 Guy Lodge
    Faith is as disciplined and intriguingly opaque as the men and women it studies, attempting to unlock the nature of the group through mesmeric observation of routine and ritual.
    • 66 Metascore
    • 80 Guy Lodge
    For anyone who’s forgotten the extent of van Houten’s skill set, actress-turned-filmmaker Halina Reijn’s impressive, icily disciplined debut feature Instinct provides a fearsome reminder.
    • 47 Metascore
    • 70 Guy Lodge
    Joyride needs some deft actors driving it, and it has lucked out: An up-for-anything Olivia Colman and scrappy newcomer Charlie Reid make for an unlikely but appealing buddy duo.
    • 30 Metascore
    • 30 Guy Lodge
    This glossy but gloopy Netflix original is primarily out to serve its leading lady’s legions of fans, some of them perhaps young enough not to have seen it all before.
    • 54 Metascore
    • 70 Guy Lodge
    Effectively piling nostalgia upon nostalgia upon nostalgia into a triple-layered Victorian sponge of particularly English sweetness, this good-natured, resolutely old-fashioned film will likely make any adults who grew up on Jeffries’ original a little misty-eyed.
    • 65 Metascore
    • 60 Guy Lodge
    The film is undeniably overlong, and far more engaging in its first half, which covers Ferragamo’s hard-up Neapolitan beginnings and lively career as a shoemaker to the stars in 1920s Tinseltown with a mixture of romantic evocation and chewy historical expertise.
    • 65 Metascore
    • 60 Guy Lodge
    At two hours, rather intricately stuffed with subplots ranging from frivolous to grimly consequential, “The Good Boss” struggles to pick up the pace when required: The laughs are there, but more spaced out than they could be.
    • 59 Metascore
    • 80 Guy Lodge
    A quiet, tightly wound horror film, Bass’ fourth and most briskly accomplished feature might flirt with the supernatural, but finds terror aplenty in social dynamics that, to many a South African, are perfectly ordinary.
    • tbd Metascore
    • 70 Guy Lodge
    Braiding the reflections of nine variously affected individuals on the subject, David Henry Gerson’s film successfully keeps the big picture and the smaller canvas in conscientious balance, disrupting overwhelming tragedy with more hopeful flashes of invention and inspiration.
    • 65 Metascore
    • 70 Guy Lodge
    It’s a modest film with a heart very much on its torn sleeve, given force and ballast by another fine dramatic turn from the hard-working Virginie Efira.
    • 71 Metascore
    • 70 Guy Lodge
    The film’s formal flourishes are modest, centering the actors ahead of all else.
    • 79 Metascore
    • 70 Guy Lodge
    Pacifiction is a film in many ways about floating, through life and water and power, inviting the viewer to idly drift right along with it.

Top Trailers