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
    • 34 Metascore
    • 20 Tom Huddleston
    This is a relentlessly unengaging affair, its derivative and logic-deficient script matched by flat direction and fussy, unconvincing CGI.
    • 66 Metascore
    • 60 Tom Huddleston
    All three actors work hard... and when the melodrama hits fever pitch, Crimson Peak lurches into life. But overall this lacks weight and intensity: a Brontë-esque bauble smeared in twenty-first-century slickness.
    • tbd Metascore
    • 40 Tom Huddleston
    There’s nothing here we’ve not seen before, and it all feels a little cheap. But if ‘oi, slag!’ mobster movies are your bag, you could do worse.
    • 68 Metascore
    • 60 Tom Huddleston
    Ascher’s aim isn’t simply to inform. The Nightmare wants to be the first properly scary documentary, employing time-honoured horror movie techniques in a concerted effort to spook the viewer. But it’s here that Ascher slightly oversteps himself.
    • 64 Metascore
    • 40 Tom Huddleston
    Zarafa never pauses for breath, rattling from one hasty, perfunctory sequence to another.
    • 64 Metascore
    • 60 Tom Huddleston
    Give Northern Soul its due: this feisty, frequently amusing chronicle of one young man’s journey through the dancehalls of Lancashire nails its time and place.... A pity, then, that the story is so tiresomely familiar.
    • 76 Metascore
    • 80 Tom Huddleston
    For this slick, beautifully paced documentary, director Marc Singer was given unprecedented access to everything from police tapes to trial recordings to Dunn’s own private phone conversations, and the result is a uniquely compelling real-life legal thriller.
    • 72 Metascore
    • 80 Tom Huddleston
    A lusty ballad of love and heartbreak sung with passion and power, and just a handful of off-key notes.
    • 73 Metascore
    • 60 Tom Huddleston
    There’s wit, integrity and insight here, but it cries out for a lighter touch.
    • 66 Metascore
    • 80 Tom Huddleston
    In the closing act, the film sharpens and becomes something far more compelling.
    • 55 Metascore
    • 40 Tom Huddleston
    A bizarre, conflicted mess, horrifying when it’s trying to be funny, oddly appealing when it turns the screws.
    • 76 Metascore
    • 80 Tom Huddleston
    Cameraman and director Michael Heineman has created a riveting story of how, with awful inevitability, power always corrupts.
    • 31 Metascore
    • 40 Tom Huddleston
    In the plus column there’s a small handful of decent gags, a clutch of welcome cameos (Eddie Izzard, notably) and at 85 minutes it doesn’t outstay its welcome. There’s also a fairly solid moral about free will and personal desire. But nothing else here really clicks.
    • 27 Metascore
    • 40 Tom Huddleston
    This reboot of the Marvel superhero franchise is a film of two halves: the first likeable and fun, the second tiresome and loud.
    • 47 Metascore
    • 40 Tom Huddleston
    Max
    This is a busy, moderately entertaining slice of family-friendly fluff. It’s flatly directed and functionally acted.
    • 73 Metascore
    • 60 Tom Huddleston
    Ghost Protocol plays it strictly by the book: the characters are bland, the plot is over-familiar and the action sequences are resolutely old school. But animator Bird relishes the chance to play with real people.
    • 77 Metascore
    • 80 Tom Huddleston
    Focusing on the personalities rather than the historical context, directors Robert Gordon and Morgan Neville illustrate how both men’s lives were changed by the debates, and how neither could let it go even decades later. The result is perhaps better suited to TV than the big screen, but it’s a timely, thoughtful piece of work.
    • 23 Metascore
    • 40 Tom Huddleston
    With its unusual central conceit and awkward, somnambulant pacing, The Cobbler feels like a quirky foreign comedy that’s been mis-translated into English, losing all the subtlety and humour in the process.
    • 49 Metascore
    • 40 Tom Huddleston
    Cub
    First-time feature director Jonas Govaerts handles the shocks and scares competently, and the pace is well maintained. But the characters are a forgettable bunch.
    • 75 Metascore
    • 60 Tom Huddleston
    Rogue Nation is an uneven film.
    • 51 Metascore
    • 40 Tom Huddleston
    The Choir is decently directed, competently performed and mostly watchable, but it’s saccharine and totally unworthy of its impressive cast.
    • 56 Metascore
    • 80 Tom Huddleston
    The action sequences are wild, the jokes relentlessly dumb-but-smart, and the sheer sense of anything-goes daftness...is glorious.
    • 48 Metascore
    • 40 Tom Huddleston
    Writer-director Pablo Fendrik takes the whole thing terribly seriously, punctuating the action with ponderous slo-mo and laughably pompous discussions about Bernal’s spirit jaguar.
    • 67 Metascore
    • 60 Tom Huddleston
    The script is solid, the period recreation spectacular and the performances muscular, but The Connection suffers from a severe case of overfamiliarity.
    • 47 Metascore
    • 60 Tom Huddleston
    Poltergeist, while entertaining, has more in common with slick, audience-goosing spookers like "Insidious" and "Sinister" than with the imaginative original.
    • 66 Metascore
    • 60 Tom Huddleston
    Whedon has revealed that his first cut ran for well over three hours, and it shows: Ultron feels excessively nipped and tucked, barrelling from one explosive set-piece to the next, leaving ideas half-formed and character motivations murky.
    • 13 Metascore
    • 20 Tom Huddleston
    Given that it comes courtesy of Adam Sandler’s production company Happy Madison... it’s no surprise that Paul Blart: Mall Cop 2 is a lazy, witless, laugh-free experience. But even by their standards, this is a slog to sit through, so glacially paced that at times it achieves an almost zen-like level of anti-comedy.
    • 41 Metascore
    • 20 Tom Huddleston
    Child 44 is a striking example of how a single, wrongheaded choice can doom an entire movie.
    • 63 Metascore
    • 60 Tom Huddleston
    Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.
    • 55 Metascore
    • 40 Tom Huddleston
    A smart concept is thoroughly wasted in this cute but grating DreamWorks animated comedy.

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