Jonathan Romney

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For 165 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Jonathan Romney's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Son of Saul
Lowest review score: 30 Waiting for the Barbarians
Score distribution:
  1. Negative: 3 out of 165
165 movie reviews
    • 76 Metascore
    • 80 Jonathan Romney
    The film plays with and deconstructs the familiar repertoire of Diana myths and images, to offer an empathetic, intelligent insight into the prison of fame and privilege, with Kristen Stewart offering a lead performance that is brittle, tender, sometimes playful and not a little uncanny.
    • 79 Metascore
    • 90 Jonathan Romney
    Working with Carbunariu, Jude offers a spare, visually striking evocation of the methods of Ceausescu’s secret police, the Securitate, in its pursuit and punishment of a young dissident.
    • 76 Metascore
    • 80 Jonathan Romney
    Rather like the butterfly wings that are its central metaphor, Son of Monarchs is deceptively fragile-seeming, yet robust, structurally complex and vibrantly hued.
    • 84 Metascore
    • 90 Jonathan Romney
    The film derives a magnetic continuity, and an unsettling range of dynamics, from Haque Badhon’s performance
    • 68 Metascore
    • 50 Jonathan Romney
    There’s plenty to gawk at, and to argue over, in this episode - yet No Time To Die is oddly lacking in pleasure or real wit.
    • 78 Metascore
    • 70 Jonathan Romney
    A promising and emotionally mature romantic drama from British writer-director Harry Wootliff.
    • 74 Metascore
    • 70 Jonathan Romney
    Essentially a frothy bagatelle, and sometimes overworking the slightest of jokes, nevertheless this lively, sleekly executed farce from the Argentinian makers of black comedy The Distinguished Citizen offers comic and visual pleasures alike, plus crisp acting from its lead trio.
    • 82 Metascore
    • 90 Jonathan Romney
    La Caja is a canny blend of detective story, political drama and rites of passage vignette, and is the sort of film that comes across as so simple and direct that it’s easy to miss how meticulously conceived and constructed it is.
    • 82 Metascore
    • 90 Jonathan Romney
    A powerful and troubling drama about the Stalin era. ... This is a film to revel in, and to argue about – and for some, no doubt, to recoil from – but it’s one of the most original works of the year, and a stand-out of what is proving a rich spell in Russian cinema.
    • 60 Metascore
    • 80 Jonathan Romney
    Provocative Italian feature Bad Tales is one of those films that aren’t afraid to confront you with the grimmest aspects of the human condition, but yet leave you feeling strangely exalted by the sheer cinematic invention involved.
    • 67 Metascore
    • 40 Jonathan Romney
    An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.
    • 42 Metascore
    • 60 Jonathan Romney
    Forty years after John Carpenter made the defining slasher movie, director David Gordon Green has made a creditable stab, as it were, at reanimating the title.
    • 71 Metascore
    • 80 Jonathan Romney
    The boisterousness remains, as does the unreconstructed maleness that has often been a jarring mannerism in his work. But new intimacy also yields a lightness and tenderness that are a welcome addition to Sorrentino’s palette.
    • 88 Metascore
    • 80 Jonathan Romney
    If The Power Of The Dog isn’t the absolute killer coup that Campionites might have hoped, this is her most thoroughly conceived, consistently involving drama for years: taken all in all, pretty much the full visual, dramatic and, indeed sonic package.
    • 80 Metascore
    • 80 Jonathan Romney
    What gives the film a force that balances out the delicacy is a commanding, charismatic lead by Wendy Chinchilla Araya, best known as a dancer, whose highly physical presence in turn evokes Clara’s sensitivity, isolation, vulnerability, fury and – despite the pressure to keep it hidden – powerful sexuality.
    • 56 Metascore
    • 40 Jonathan Romney
    In all fairness, the film is hard to enjoy, not least because its handful of intriguing ideas are so self-indulgently gussied up with ostentatious visual execution.
    • 81 Metascore
    • 80 Jonathan Romney
    It’s his most mature film, an unabashedly and audaciously experimental work.
    • 78 Metascore
    • 90 Jonathan Romney
    Paris is more than just a setting here, but absolutely defines the way that the characters live and connect, the rhythms and pressures of their existence.
    • 51 Metascore
    • 50 Jonathan Romney
    This satire about media, emotional alienation and – need it be said? – the state of the nation makes its point quickly and forcefully before going on to make it again and again, with different modulations, for over two hours. It’s a shame, because somewhere within this sprawling piece is something audacious and playful.
    • 61 Metascore
    • 80 Jonathan Romney
    Even though it sometimes feels as if Corsini is trying to keep too many plates spinning, the whole risky exercise pays off to provocative effect.
    • 74 Metascore
    • 70 Jonathan Romney
    By the time we reach an apocalyptic payoff, Titane has skated on and off the rails several times, with insouciant abandon. You miss the combination of bravado and control that made Raw work so well, but the deranged cocktail of outrage, excess, conceptual ferocity and sheer silliness on display here will make you gasp – and occasionally flinch.
    • 82 Metascore
    • 60 Jonathan Romney
    It’s a film made with honesty, integrity and a certain grace, but it can’t quite overcome an earnestness that was never a problem in Hansen-Love’s best films, which carried their literary and cinematic inspirations lightly.
    • 78 Metascore
    • 70 Jonathan Romney
    Compartment No. 6 is something of a minimalist shaggy dog story, ending on a bittersweet low-key note.
    • 84 Metascore
    • 80 Jonathan Romney
    A beautifully executed, intellectually searching and sometimes droll futuristic drama.
    • 67 Metascore
    • 40 Jonathan Romney
    The ultimate problem with this flamboyant, yet oddly oppressive-feeling film is Carax’s bleakly Romantic world view – even working with exuberant wits like the Maels, he’s unavoidably committed to the dark abyss himself.
    • 81 Metascore
    • 80 Jonathan Romney
    Loznitsa’s essay raises questions about the nature and ideological mechanisms of totalitarian myth-making, and the nature of public grief as propagandist display.
    • 82 Metascore
    • 80 Jonathan Romney
    This film is an informative, polished and bracingly upbeat production.
    • 49 Metascore
    • 50 Jonathan Romney
    Enfant Terrible is somewhat repetitive – ever more shouting, more hedonism, more tainted glory – but it’s never boring. It’s just not very insightful – full marks for the style, but the substance is best found in the books, and in the various documentaries about the man.
    • tbd Metascore
    • 70 Jonathan Romney
    A work that is uneven in form but arresting in content and especially vital as a commentary on contemporary African society, human rights and disability issues.
    • 59 Metascore
    • 60 Jonathan Romney
    You just wish that director Park had managed to execute the film as a whole with the crisp efficacy of some of his individual sequences.

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