Tom Huddleston

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For 338 reviews, this critic has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 1.3 points lower than other critics. (0-100 point scale)

Tom Huddleston's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Night of the Hunter (re-release)
Lowest review score: 20 The Girl King
Score distribution:
  1. Negative: 17 out of 338
338 movie reviews
    • 72 Metascore
    • 60 Tom Huddleston
    There are sequences in Doctor Strange that could burn the top layer off your eyeballs, crammed as they are with some of the most unashamedly drug-inspired imagery since the ‘The Simpsons’ episode where Homer takes peyote. But problems arise when Doctor Strange tries to tackle the everyday stuff, like telling a half-decent story.
    • 84 Metascore
    • 80 Tom Huddleston
    It doesn’t all work: The pace can feel a little slow, and there are points where Park tries to have his tasty feminist cake and eat it too. But mostly, this is smart, sumptuous and wonderfully indulgent.
    • 66 Metascore
    • 60 Tom Huddleston
    Phantom Boy is frequently beautiful to look at, but the cops-and-robbers angle feels tired and the characters are thinly sketched.
    • 65 Metascore
    • 60 Tom Huddleston
    Origin of Evil takes a while to get going, and the demonic possession plot pretty much runs on rails. And yet there’s plenty to admire here: strong performances (‘ET’ legend Henry Thomas is a welcome sight as a kindly priest), top-notch jump-scares and some unexpectedly lovely, almost ‘Far From Heaven’-ish autumnal photography.
    • 71 Metascore
    • 80 Tom Huddleston
    Smartly cutting off before the long decline, this is an epic story, beautifully told.
    • 73 Metascore
    • 60 Tom Huddleston
    75 minutes isn’t really long enough to fully examine the Sky Ladder project, let alone an incident-packed artistic career. Still, as an introduction, this is entirely serviceable.
    • 42 Metascore
    • 40 Tom Huddleston
    By the end, even Hanks looks a bit bored.
    • 68 Metascore
    • 60 Tom Huddleston
    Accusations of tastelessness are bound to arrive, with some justification. If your priority is to respect the dead, why hire the director of Battleship?
    • 57 Metascore
    • 40 Tom Huddleston
    Like four or five Harry Potter books squeezed into a single movie: it makes precious little sense.
    • 63 Metascore
    • 60 Tom Huddleston
    The picture it paints of America’s frontline intelligence services – confused, internally quarrelsome and completely in hock to corporate interests – is fascinating.
    • 65 Metascore
    • 60 Tom Huddleston
    A United Kingdom is just a little too cosy and sentimental for its own good.
    • 70 Metascore
    • 80 Tom Huddleston
    By the climax all concerns have gone out the window, as Vigalondo delivers an operatic finale that feels both earned and genuinely cathartic. For better and worse, you won't have seen a movie like Colossal before, and you won't again. And that, in itself, is a strong recommendation.
    • 82 Metascore
    • 80 Tom Huddleston
    Certain Women moves, as all Reichardt’s films do, at a languid pace, and a handful of characters – notably Williams’s – could have been a little more developed. But it's hard to recall a movie with such a precise, immersive sense of place, and the very specific mood that comes with it.
    • 62 Metascore
    • 60 Tom Huddleston
    Overall, Bleed For This is difficult to dislike: the story may be hokey but it’s real, and so is the sentiment behind it.
    • 81 Metascore
    • 80 Tom Huddleston
    Overall this is an absolute pleasure. There are times when Waititi’s script borders on genius.
    • 76 Metascore
    • 60 Tom Huddleston
    There's a gripping, dark, truly monstrous film lurking in here somewhere, but Bayona seems hell-bent on keeping it at bay.
    • 38 Metascore
    • 20 Tom Huddleston
    Fans of the Stath and his inimitable oeuvre may find just enough shooting, punching and snarling to keep them satisfied. But those who enjoy proper movies are urged to steer clear.
    • 71 Metascore
    • 80 Tom Huddleston
    It’s in contextualising Sands’s struggle that ‘66 Days’ is most effective.
    • 72 Metascore
    • 80 Tom Huddleston
    If self-aware, ultra-arch arthousery isn’t your bag, give it a miss. If you’re looking for a good, weird, often very funny time, don’t miss it.
    • 54 Metascore
    • 60 Tom Huddleston
    Being stuck in a cinema with David Brent for 96 minutes can be trying (the lazy ending doesn’t help). But when Gervais is on an improvisational roll, Brent digging himself deeper and deeper into some awful pit of social awkwardness, we can’t help but remember why we love to hate them both.
    • 88 Metascore
    • 60 Tom Huddleston
    A film with a fistful of memorable moments—most of them involving Bridges hurling insults at people—but not a great deal new to say.
    • tbd Metascore
    • 60 Tom Huddleston
    The plotting may be a little ropey, especially towards the end. But ‘ID2’ has smart things to say about identity and social class, and strides confidently through the minefield of British racial politics.
    • 66 Metascore
    • 60 Tom Huddleston
    If you’re a fan of the classic streets-to-stardom formula, this is a solid rendition.
    • 75 Metascore
    • 80 Tom Huddleston
    It’s most fascinating when dealing with the fallout from her divorce from first husband Petter Lindstrom and very public affair with director Roberto Rosselini – a reminder of how much gossip, scandal and public opinion were at the heart of Hollywood long before Twitter.
    • 58 Metascore
    • 60 Tom Huddleston
    When the talking stops the film takes off, with a pair of bone-rattling chases set in Athens and Las Vegas that cause maximum damage to people, property and the audience’s eardrums. A bracing reminder of how fiercely efficient Greengrass can be, these scenes just about justify the existence of Jason Bourne. But, please, no more.
    • 60 Metascore
    • 80 Tom Huddleston
    The Commune may veer towards sentimentality in the final act...but overall this is a warm, sharply characterised and absorbing melodrama.
    • 66 Metascore
    • 80 Tom Huddleston
    An empathetic, often heartbreaking piece of work, at times tough to watch – one party scene is particularly grim and confrontational – at others calm and contemplative.
    • 72 Metascore
    • 60 Tom Huddleston
    The film can feel truncated, as if only a longer film or TV series could do proper justice to the details of the story. But it’s a sensitive and moving tale nonetheless.
    • 70 Metascore
    • 40 Tom Huddleston
    The visual style here is pleasingly simple, with round, Moomin-ish faces and washes of icy pastel colour. But the story is pretty flat, spending ages setting up a rivalry between aristocrats that turns out to have no bearing on the story at all.

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