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
    • 48 Metascore
    • 40 Tom Huddleston
    The problem is that it all feels like a sixth-form production of the Bourne series. Still, if you’ve ever fantasised about a Luther-Robb Stark crimefighting duo, look no further.
    • 49 Metascore
    • 40 Tom Huddleston
    Overall, the film just feels too much like an obligation, as though everyone involved had spent too much time and money to back out, so they forced themselves to grit their teeth and get on with it. You may feel the same.
    • 36 Metascore
    • 20 Tom Huddleston
    When great actors meet a misguided script, the results can be hilarious. And so it proves with Criminal, a nutso mash-up of The Bourne Identity and The Man with Two Brains which, despite a laughable plot and ridiculous dialogue, somehow managed to attract Kevin Costner to the lead role, with support from Ryan Reynolds, Tommy Lee Jones, new Wonder Woman Gal Gadot and even Gary Oldman (who really needs to have a word with his agent after this and Child 44).
    • 66 Metascore
    • 60 Tom Huddleston
    Overall, there’s just not enough going on in Disorder: largely plotless and set almost entirely in a single, bland location, it doesn’t have enough atmosphere to compensate for the lack of action.
    • 29 Metascore
    • 40 Tom Huddleston
    Rock the Kasbah just isn’t remotely funny or smart, and none of the characters come within shooting distance of likeable.
    • 33 Metascore
    • 40 Tom Huddleston
    It all leads to a climax so staggeringly lazy and glib that you honestly expect Woodley just to turn to the camera in the final scene, shrug her shoulders and walk off.
    • 54 Metascore
    • 40 Tom Huddleston
    Eddie the Eagle may suffice for a brainless Friday night, but an honest account would have been a lot more memorable.
    • 23 Metascore
    • 60 Tom Huddleston
    Asking far more questions than it could ever answer, Exposed ends on a note so flat and predictable that it undermines all that went before. But there are strange and memorable moments here, and a mood of eerie foreboding that’s hard to shake.
    • 52 Metascore
    • 80 Tom Huddleston
    There may be little here we haven’t seen before – glassy reflections of Michael Mann’s Heat pop up everywhere you look – but it’s all carried off with brashness and momentum by a director who genuinely seems to be having a blast.
    • 71 Metascore
    • 60 Tom Huddleston
    There are a few lovely scenes: Mavis listening to a new mix of one of her father’s last recordings is heartbreaking. For old-soul fans, Mavis! is a must.
    • 72 Metascore
    • 80 Tom Huddleston
    This is a confident, terrifically enjoyable film, superbly written, shot and performed.
    • 42 Metascore
    • 40 Tom Huddleston
    It’s all so horribly cynical, with every line, every twist and every note of music painstakingly focus-grouped to extract maximum cash value from the audience.
    • 78 Metascore
    • 60 Tom Huddleston
    What Welcome to Leith does very well is dig deep and expose Cobb – and by extension the entire American neo-Nazi movement – as weak, confused and desperate, using a dying ideology as a way to feel less alone in the world.
    • 65 Metascore
    • 40 Tom Huddleston
    Bloody, shallow and oh-so-smug, Deadpool is so eager to offend that it’d almost be sweet if it wasn’t so, well, relentlessly annoying.
    • 60 Metascore
    • 60 Tom Huddleston
    It all spins out of control in a final blowout of naff special effects and random shouting, but there’s just enough leftover goodwill to carry it through.
    • 45 Metascore
    • 40 Tom Huddleston
    The result is an odd, inconsequential but not entirely charmless misfire: an action-horror-comedy-romance with none of the first two and precious little of the third.
    • tbd Metascore
    • 40 Tom Huddleston
    It’ll most likely keep the smaller kids diverted while parents capture a few zzzs.
    • 50 Metascore
    • 40 Tom Huddleston
    It’s a strong setup, poorly handled.
    • 93 Metascore
    • 100 Tom Huddleston
    Jennifer Peedom’s film is stunningly photographed (how could it not be?) and brilliantly sly: she gives the tour guides and their rich, self-absorbed charges just enough rope to hang themselves, and they duly oblige. But it’s also a heartfelt tribute to the resilience of a people.
    • 47 Metascore
    • 60 Tom Huddleston
    The dramatic scenes are a touch overcooked, and there are moments when it feels like a particularly high-end school play, with everyone shouting “Avast!” and “Ahoy!” like they really mean it. The action, though, is consistently impressive: When man and beast go toe-to-tail, your timbers will be truly well shivered.
    • 49 Metascore
    • 40 Tom Huddleston
    Too many obnoxious relatives, evil critters and weak gags at the expense of fat kids and foul-mouthed old ladies.
    • 64 Metascore
    • 60 Tom Huddleston
    Greater conflict (or simply more probing interviews) might have made for a more gripping movie. But what’s here will delight anyone who dreams of living free, sleeping rough and scoffing beans around the campfire.
    • 68 Metascore
    • 60 Tom Huddleston
    This is a solid take on the material, but it could have done with a little less narrative incident and a little more cinematic sparkle.
    • 31 Metascore
    • 40 Tom Huddleston
    The film's final moments, in which we discover the source of the film’s intrusive, patronizing voiceover, are simply vile. The result is like stuffing yourself with Christmas pudding: sweet, glutinous, a bit too much.
    • tbd Metascore
    • 60 Tom Huddleston
    The film works best when it explores the impact of FGM.... But the film is also trying to be a rousing, celebratory sports story, as the Warriors jet off to London to take part in a cricket tournament. And this is less successful.
    • 65 Metascore
    • 80 Tom Huddleston
    This might be the most downbeat blockbuster in memory, a film that starts out pitiless and goes downhill from there, save for a fleeting glimmer of hope in the final moments. It’s a bold statement about the unforgiving nature of war, unashamedly political in its motives and quietly devastating in its emotional effect.
    • 76 Metascore
    • 80 Tom Huddleston
    It’s a dour, at times glacial film that perhaps takes itself just a little too seriously, but it’s also grimly convincing and, in a remarkable final scene, shockingly effective.
    • 58 Metascore
    • 60 Tom Huddleston
    It’s a wild, at times exhilarating watch – but an exhausting one.
    • 60 Metascore
    • 60 Tom Huddleston
    An unbalanced but never less than entertaining film, enthralling and deflating in roughly equal measure, and studded with moments of true, old-school glory.
    • 79 Metascore
    • 80 Tom Huddleston
    This is a forceful, initially uplifting, ultimately sobering illustration of how much protest matters, how far those in power will go to stifle it, and how ugly and criminal those efforts look in hindsight.

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