For 47 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% 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)

Will Leitch's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 97 Dunkirk
Lowest review score: 20 The Snowman
Score distribution:
  1. Positive: 24 out of 47
  2. Negative: 3 out of 47
47 movie reviews
    • 61 Metascore
    • 67 Will Leitch
    Onward has sections where you worry that it’s a disaster, but it turns out to have more emotional oomph than initially apparent.
    • 60 Metascore
    • 54 Will Leitch
    The movie is exhausting, but when we’re talking about the DCEU, we have been the victims of far worse. The movie bores you but, perhaps newest for this universe, it does not drain your will to live. One takes progress where one can find it.
    • 80 Metascore
    • 83 Will Leitch
    The movie is tougher, and more rigorous, and more interested in the hard work of healing than empty slogans. It is true to the spirit of Mr. Rogers without every deifying him. I bet he would have loved it.
    • 58 Metascore
    • 54 Will Leitch
    When you turn those kids into adults, they lose not just most of their wonder, they lose most of their interest. They’re just some people in a horror movie trying not to get killed. And we have seen that many, many times before.
    • 83 Metascore
    • 87 Will Leitch
    The greatest achievement Tarantino pulls off here is, by pure force, to yank this era back to life, to recreate it and revive it as if driven by some sort of religious mania.
    • 55 Metascore
    • 47 Will Leitch
    This is a universally powerful story, with terrific songs and countless funny and fascinating supporting characters. It’s a classic of performance and sensation. This version, seemingly by design—like that was the damned plan all along—drains every bit of life from it … in order to make it more “realistic.”
    • 84 Metascore
    • 92 Will Leitch
    The first thing to note about Toy Story 4 is that it is extremely funny: I’d argue it’s the most consistently comedic of the entire series
    • 38 Metascore
    • 44 Will Leitch
    It turns out, after the third attempt to recapture the magic of the first film, that the Men in Black universe is not a particularly compelling one after all. Probably time to move onto something else. They’re all tapped out here.
    • 64 Metascore
    • 70 Will Leitch
    We’ve seen a lot of this before, though the ’90s setting is a nice twist and provides a soundtrack that will prove consistently pleasing to any aging Gen Xer. But it’s Larsen who gives this weight and emotional depth.
    • 43 Metascore
    • 40 Will Leitch
    This is Shyamalan at his worst, a speechifying, moralizing scold who wants your adoration but doesn’t want to put in the effort, or himself at risk, to earn it.
    • 61 Metascore
    • 52 Will Leitch
    Where The Big Short was bold and enlightening, this is just well-trodden ground, trod over once again in a fashion that feels decreasingly novel.
    • 84 Metascore
    • 94 Will Leitch
    This movie isn’t just about America, or the collective power of the human imagination, or one man’s heroism, or one woman’s strength in his absence. It is about how being human can mean cruelty and tragedy and loss and unimaginable pain … and how that’s still not enough to defeat us, not by a long shot.
    • 69 Metascore
    • 66 Will Leitch
    As moving as the families’ recoveries can be, and as earnest as Greengrass is at trying to honor their stories, there is an undeniable waft of the familiar in his dramatization of their difficulties. Greengrass hasn’t found a new spin on this sort of material. You admire the resilience, but I’m not sure Greengrass makes you feel it.
    • 80 Metascore
    • 88 Will Leitch
    The Old Man and the Gun is a jaunty joyride, a valedictory for a beloved American icon and a giddy true story. But Lowery ties it all together at the end: It’s a story about how the years go by, and who we are. It’s a story about all of us.
    • 21 Metascore
    • 44 Will Leitch
    The movie is a shameless, relentless wreck.
    • 27 Metascore
    • 28 Will Leitch
    What’s immediately surprising and dispiriting about The Happytime Murders is how haphazard the actual puppets are. They aren’t inventively or cleverly put together, and they’re sort of repulsive in a way that’s less “edgy” and more “consistently unpleasant to look at.”
    • 83 Metascore
    • 89 Will Leitch
    This movie is unbalanced and constantly fluctuating and as uneven as you’d expect from Spike Lee, but this time that works for the film rather than against. There’s a nationwide emergency, and Spike Lee, with BlacKkKlansman is screaming in your face for action at every turn.
    • 80 Metascore
    • 79 Will Leitch
    Sorry to Bother You has so many ideas busting out of every seam, so much ambition, so much it so urgently wants to say, that it feels almost churlish to point out that the movie ends up careening gloriously out of control.
    • 61 Metascore
    • 61 Will Leitch
    The movie’s action is no-nonsense, no-frills explosions and machine gun stuff, and it lacks the soaring vision of Villeneuve; Sollima is much more of a plunge-forward linear filmmaker. That approach has its advantages, though, and while I wouldn’t have wanted Sollima to try to tackle some of the thornier ethical issues of the first film, he’s more than capable of rampaging through and past them here.
    • 70 Metascore
    • 57 Will Leitch
    The movie is ultimately harmless, trivial puffery that vanishes from your brain as quickly as you experience it.
    • 85 Metascore
    • 71 Will Leitch
    The primary fascination of Won’t You Be My Neighbor? lives when it stands outside this man and stares at him, unfathomably, wondering what in the world must have made him tick. The film tries to do more than that, with varying levels of success, but that’s the core: Who is this guy?
    • 66 Metascore
    • 71 Will Leitch
    Deadpool 2 is at its best when it cheerfully doesn’t give a shit. The more it cared, the less I did.
    • 48 Metascore
    • 57 Will Leitch
    The movie keeps trying the bank shot of propping up its crazed premise while its lead actress, gamely, almost bravely, tries to undercut it. It never quite makes it, but you appreciate how hard it, and she, tries.
    • 45 Metascore
    • 46 Will Leitch
    This is a ridiculous movie without much desire or energy to get too ridiculous.
    • 64 Metascore
    • 76 Will Leitch
    I don’t know how he does it, or for that matter why, but Spielberg turns Ready Player One into something that’s both nostalgic and new, something impersonal yet uniquely his. It is not one of his better movies; it’s probably not even in the top half. It’s way too long and packed with too much extra junk. It is still, somehow, a gas.
    • 53 Metascore
    • 42 Will Leitch
    There are movies that fail because they are misguided, or because their heart isn’t in the right place. This movie wants to be special, which makes the fact it is such a lumpy, clumsy mess all the more frustrating. You root for this movie, and the movie tries to go a long way on that good will. It doesn’t make it far.
    • 79 Metascore
    • 88 Will Leitch
    This is a film that wants to make you feel as confused and terrified as the characters you’re watching. In this, it is unquestionably successful.
    • 54 Metascore
    • 49 Will Leitch
    The movie has its moments. But Thor wrestling with the Hulk is more realistic and, frankly, more relevant to the current facts on the ground.
    • 90 Metascore
    • 88 Will Leitch
    Phantom Thread gets under your skin. On the surface, it is proper and refined and exquisite. But underneath, messy, angry real life keeps bubbling up, fervent and eager to escape. At last, it bursts through the seams. It always does.
    • 72 Metascore
    • 49 Will Leitch
    For all the technical achievement on display, as impressive as it is that you could recast a main role in so short amount of time, All the Money in the World is disjointed and frazzled.

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