BBC's Scores

  • Movies
For 131 reviews, this publication has graded:
  • 66% higher than the average critic
  • 1% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 14.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 79
Highest review score: 100 The Wizard of Oz
Lowest review score: 20 We're No Angels
Score distribution:
  1. Positive: 93 out of 131
  2. Negative: 1 out of 131
131 movie reviews
  1. The story is thin, repetitive, and almost entirely dependent on the heroes being clumsy.
  2. The film's only major fault is Trevorrow's desperation to ensure that viewers get their money's worth. Jam-packed with silliness, spectacle, intrigue, romance and just about everything else, Jurassic World Dominion has regular popcorn-spilling scares, exhilarating, expertly choreographed action set pieces that would earn a tip of the baseball cap from Spielberg himself, and the numerous characters all have plenty to do.
  3. The script is so economical, and the acting so beautifully natural (especially by Dambrine, a remarkable discovery), that Close feels less like a drama than a tapestry of fragments from a candid documentary.
  4. Broker keeps on getting funnier and knottier as secret motives are revealed, sympathies shift, mysteries deepen and dangers multiply. It is, on one level, a farcical crime caper, but it is so elegantly plotted that it never seems contrived.
  5. Partly because the characters look so healthily pretty, and partly because the mood is so woozy, The Stars at Noon feels more like a stylish pastiche of a Graham Greene novel than the story of real people battling their way out of a difficult, potentially deadly situation. It's beautifully made, but to enjoy it you have to relax, and let it wash over you.
  6. Structured as a hardboiled detective thriller, Crimes of the Future has plenty of provocative concepts and images that will put a grin on your face (not least the dancer who has several ears on his face), but you may find yourself willing the plot to pick up momentum, and the ickiness to get a whole lot ickier.
  7. The investigation is exquisitely constructed, with a stream of revelations, some pulse-pounding action and continuous glimmers of wry humour. It's also a model of elegance and restraint.
  8. If a screenplay is going to be fixated on the history and purpose of storytelling, the stories within it have to be better.
  9. The new film improves on the old one in every respect. The story is cleverer and more gripping, the dialogue is sharper and funnier, the relationships are richer, the aerial stunts are more likely to make you queasy.
  10. Men
    A glib misreading of Men might reduce it to: "Ha! Men! They're all alike." But the film's ending emphasises how much Harper's trials and Garland's film have been about her profound tangle of love, grief and understanding.
  11. Some people will dismiss the film as nonsense, and they could have a point. But Doctor Strange in the Multiverse of Madness is a huge amount of fun.
  12. Compared to most US action adventures, The Northman is adventurous and distinctive. It feels compromised, but the great stuff outweighs the not-so-great stuff. To see or not to see? If that is the question, the answer is: see it.
  13. For many of us, especially in the West, the film is likely to be confusing here and there. It would have been helpful, for example, if the subtitles had let us know who's speaking Russian and who's speaking Ukrainian. But it is worth a bit of confusion for a film so powerful and immediate, and made with such a lucid artistic vision.
  14. Even before the panda-monium begins, the film is a hilarious, life-affirming treat.
  15. The story also ends on a touchingly optimistic note, which is unusual for a Batman film. Who knows, maybe the next one won't be quite as gloomy. Pattinson might even crack a smile. But I wouldn't bet on it.
  16. The story has its moments of suspense, especially when Nina's child wanders off from the beach. But the soul of the film exists in the small exchanges and tensions between characters.
  17. The film's real superpowers are its endearing performances, and a screenplay by Chris McKenna and Erik Sommers that interweaves teen-angst soap opera and cosmic calamity with all the goofy logic and tonal nimbleness that make the best superhero comics so appealing.
  18. Full of energy, wit, passion and tragedy, looking backward and forward at once, it is one of the most moving films of the year.
  19. Eternals is more serious in tone and more deliberate in its pacing than the average Marvel movie, with less of the usual banter and no cameo appearances by other superheroes. But, if you're looking for the humanity and originality of Zhao's other films, you won't find much of it here.
  20. In general No Time To Die does exactly what it was intended to do, which is to round off the Craig era with tremendous ambition and aplomb. Beyond that, it somehow succeeds in taking something from every single other Bond film, and sticking them all together.
  21. Stewart is such inspired casting that she makes all this eccentric nonsense watchable.
  22. A film with this scope and richness is a splendid achievement, but it's easier to admire than to love. There is some humanity in there somewhere: at heart it's a coming-of-age story about a boy becoming tougher and more cynical on his way to becoming a leader. But will anyone care about the shallow, po-faced characters? They've got exotic names and elaborate costumes, but none of them has much warmth or personality compared to those in a certain other space opera which I won't mention.
  23. It's a film which shimmers with intelligence, and if the plot isn't clear until the very last scene, well, it's worth the wait. When that scene arrives, the purpose of every previous scene snaps into sharp focus, leaving you with the urge to go back to the beginning and watch the whole thing again.
  24. Ducournau's beautiful, dark, twisted fantasy is a nightmarish yet mischievously comic barrage of sex, violence, lurid lighting and pounding music. It's also impossible to predict where it's going to go next.
  25. His craftsmanship is so overwhelming that unless you're already allergic to his tics and trademarks, you should get a buzz from the film's many, many incidental pleasures. One thing's for sure: there is nothing quite like The French Dispatch – except Anderson's other films, of course.
  26. Far from being a steamy nun-sploitation thriller about women with bad habits – well, it's partly that, to be honest – Benedetta is a substantial, sophisticated, yet briskly paced and always highly entertaining drama, which balances quiet scenes of shrewd backroom politicking with lurid scenes of wild religious madness.
  27. It's kitsch at times and transcendent at others, but the delicate puppetry and the gonzo ambition will guarantee Annette a cult following.
  28. There are great concert movies and great socio-political documentaries, but Summer of Soul combines both in one gloriously entertaining and intellectually astute film.
  29. Black Widow does become typically Avengers at the end, with an overwrought, too-long action scene that plays like a festival of stunt doubles tossing each other around a Russian lab. The real ending is better: a post-credit sequence brings back Pugh as Yelena in a tease that is not terribly surprising but is extremely welcome.
  30. Casarosa has crafted a modest and gentle yarn about a few good-natured people in a small area, and their enviably simple way of life. His cartoon is aimed at the heart – and the tastebuds – rather than the brain. And it's no less of a delight for that.

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