Hannah Strong

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Little White Lies
For 48 reviews, this critic has graded:
  • 37% higher than the average critic
  • 0% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Hannah Strong's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Banshees of Inisherin
Lowest review score: 20 Morbius
Score distribution:
  1. Positive: 23 out of 48
  2. Mixed: 22 out of 48
  3. Negative: 3 out of 48
48 movie reviews
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    • 40 Metascore
    • 50 Hannah Strong
    65
    There’s perhaps a kernel of a good film here, and a lead performance that’s better than it has any need to be, but shoddy execution, lazy world-building and a complete failure to capitalise on any of the potentially interesting threads that (perhaps accidentally) appear means 65 has less of an impact than the harrowing final episode of 90s sitcom The Dinosaurs.
    • 81 Metascore
    • 80 Hannah Strong
    Close
    For me, Close gets to the heart of something I know all too well: bone-deep loneliness, grief, sadness and desperation that is hard to articulate, much less as a young child. To show this so masterfully, and without an ounce of judgement, make Close a small wonder.
    • 50 Metascore
    • 50 Hannah Strong
    Champions
    Undoubtedly the film means well, but its cliche, entirely predictable plot and uninspired message mean there’s not much to take away – it feels like a relic from a bygone era, and given Farrelly’s previous form, all feels a little insincere.
    • 45 Metascore
    • 40 Hannah Strong
    The Son
    Even the magnetic likes of Jackman, Dern and Kirby are wasted here, to the extent that by the time The Son reaches its miserable, cloying foregone conclusion, it’s a relief to be free of the uninspired direction and paint-by-numbers interrogation of a subject that deserves much more depth.
    • 60 Metascore
    • 80 Hannah Strong
    The Whale
    It’s a pleasure to see Fraser given a role he can put his heart into, and his nuanced performance saves The Whale from turning into a ghoulish spectacle or a very artfully shot episode of TLC’s exploitative reality show ‘My 600lb Life’.
    • 63 Metascore
    • 60 Hannah Strong
    Knock at the Cabin
    There’s still a great deal to admire, in particular the rich cinematography of Jarin Blaschke (best known for his collaborations with Robert Eggers) which creates a pleasing contrast from the sinister scenario, and the affection with which Shyamalan treats all his characters. Sure, there’s violence, but there’s a whole lot of love too.
    • 84 Metascore
    • 80 Hannah Strong
    The Fabelmans
    The Fabelmans clearly comes from a place of deep sincerity – while it might not be a particularly “deep” film, it is absolutely the Spielberg film about Becoming Spielberg that we’ve been waiting for, echoing the world of child-like wonder and the tenacity to manifest dreams that his whole career has centred around.
    • 72 Metascore
    • 70 Hannah Strong
    M3GAN
    The key challenge here is presenting these familiar tropes in a novel manner, and Cooper’s knowing sense of humour and her committed cast help bring life to the conventional.
    • 60 Metascore
    • 50 Hannah Strong
    Babylon
    Chazelle swings for the fences, but Babylon feels like the worst kind of jazz: a loose freestyle comprised of beautiful moments punctuated by bum notes and off-key scatting.
    • 66 Metascore
    • 80 Hannah Strong
    White Noise
    The overarching theme of White Noise – an anxiety around the looming spectre of death – is familiar territory for for the writer/director, as is the psyche of the film’s middle-aged, middle-class white protagonist. This is his most ambitious project in both scale and provenance.
    • 59 Metascore
    • 50 Hannah Strong
    The Silent Twins
    Despite its noble intentions, The Silent Twins is a broad-brush depiction of the Gibbons sisters’ lives, one that fails to represent the institutional racism and discrimination which had a profoundly damaging effect on them and quite possibly led to Jennifer’s death.
    • 74 Metascore
    • 80 Hannah Strong
    Bones and All
    Bones & All gets at the fragility and futility of human existence, and the fleeting moments of joy we find between birth and death. It’s an imperfect but effortlessly charming film, one that feels lived-in and loved (shout out to the eclectic, youthful soundtrack and Elettra Simos’ expressive costume design) and speaks to the human desire to love and be loved, in spite of our flaws. Bones and all.
    • 74 Metascore
    • 90 Hannah Strong
    Armageddon Time
    The mistakes we make as children have the power to echo through our lives, and we have to live with them, for better or worse, and only distance provides clarity. Armageddon Time understands the past is a foreign country, and not one you can live in forever.
    • 72 Metascore
    • 40 Hannah Strong
    Bros
    It’s a film lacking originality, but also heart – it’s hard to root for a couple when you really don’t care if they end up together or not. There are a couple of funny lines in the script, but running at just under two hours, Bros drags on, lacking the effervescence that has cemented many a rom-com’s in pop culture history.
    • 63 Metascore
    • 80 Hannah Strong
    Triangle of Sadness
    It’s certainly an enjoyable watch, though Östlund gestures towards big questions about gender and class divisions without making any truly bold statements. Instead, his characters noodle around inside increasingly outlandish scenarios, and the eventual ending feels rather abrupt after two hours of build-up.
    • 87 Metascore
    • 100 Hannah Strong
    The Banshees of Inisherin
    Its delicate blend of wryly observed humanity and thoughtful, understated visuals mean that the more dramatic beats hit harder. Even the occasional moments of gore feel shocking for the sparsity with which McDonagh chooses to deploy them.
    • 84 Metascore
    • 90 Hannah Strong
    Decision to Leave
    While Decision to Leave might lack the grandiose scale of Park’s most-lauded work, its intimacy is no less apparent.
    • 79 Metascore
    • 70 Hannah Strong
    Flux Gourmet
    There’s quite a lot to digest, and not all of it goes down easy, but it’s hard to fault Strickland’s ambition and imagination.
    • 48 Metascore
    • 40 Hannah Strong
    Don't Worry Darling
    Pugh has precious little to do as Alice, who is less a character and more a series of strung-together cliches, but her hardest challenge is performing opposite the vacant Harry Styles, whose acting is so stiff and self-conscious it’s impossible to take him seriously, much less believe this is a character capable of the things eventually revealed in the film’s comically predictable twist.
    • 73 Metascore
    • 80 Hannah Strong
    Funny Pages
    In its third act the film falters a little, tailing off rather than coming to a conclusion – this could be a result of first feature teething problems, as at a svelte 85 minutes Funny Pages verges on feeling unfinished. Nevertheless, Zolghadri is a compelling lead, striving for maturity and authenticity when the safety and comfort of his parents’ house is but a short drive away.
    • 69 Metascore
    • 50 Hannah Strong
    Bodies Bodies Bodies
    It’s passable as a mildly amusing twist on the slasher genre, but its lack of strong identity or coherent thesis means there’s little that sticks in the mind after the credits role, and ultimately does a disservice to its crop of talented stars.
    • 60 Metascore
    • 40 Hannah Strong
    See How They Run
    Failing to capture the wit or intelligence of Christie, See How They Run instead relies on tired stereotypes about women and gay men, and in an ensemble full of talented actors, there’s barely a compelling performance to be found.
    • 49 Metascore
    • 50 Hannah Strong
    The Gray Man
    This is now the fourth action film that the Russo Brothers have directed, and unfortunately they don’t seem to be getting any better at it. Aside from two hand-to-hand combat scenes, the fights are a dimly-lit mess of quick cuts and bullets flying.
    • 81 Metascore
    • 40 Hannah Strong
    Nitram
    Although the film avoids depicting any act of violence (aside from that which Nitram inflicts on his father and a shooting we hear but don’t see) its sympathies seem strangely weighted in favour of a man who showed none to the people he murdered.
    • 75 Metascore
    • 70 Hannah Strong
    The Bob's Burgers Movie
    It’s a well-paced comedy that never threatens to outstay its welcome, somehow managing to daisy-chain childhood anxiety, family financial worries and a murder mystery into a single, coherent plot.
    • 65 Metascore
    • 50 Hannah Strong
    Men
    Garland’s film seems to be an attempt to highlight the very real misogyny within the modern world that has no insight on the subject beyond Women Have Always Had It Quite Bad.
    • 60 Metascore
    • 60 Hannah Strong
    Doctor Strange in the Multiverse of Madness
    While Raimi injects as much soul into this sequel as the Marvel blueprint will allow, it’s difficult to see the film as anything other than a cog in a bigger machine.
    • 68 Metascore
    • 60 Hannah Strong
    The Unbearable Weight of Massive Talent
    It’s an easy watch – even a mostly enjoyable one, thanks to the great time Cage and Pascal are clearly having – but the dialogue stumbles into cheesy territory more often than not, and overall it feels like a missed opportunity to make a bolder statement about the ruthlessness of the Hollywood machine, or indeed Cage’s enduring celebrity.
    • 73 Metascore
    • 80 Hannah Strong
    Benedetta
    The result is incendiary – a lusty romp concerning repressed desire, the seedy underbelly of organised religion and the question of whether it really matters if communion is administered at a church or between a lover’s thighs.
    • 82 Metascore
    • 100 Hannah Strong
    The Northman
    It’s a film with fingerprints all over it; one that has been crafted rather than manufactured, and rewatches reveal a chance to revel in its sharpness; a scene in which Amleth seeks the counsel of a blind Seeress (the incomparable Björk) teems with intricate set and costume details, while a violent game of Knattleikr – a Viking cross between lacrosse and rugby – proves more adrenaline-inducing than any CGI special of recent years.
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