BBC's Scores

  • Movies
For 183 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 10.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Wizard of Oz
Lowest review score: 20 We're No Angels
Score distribution:
  1. Negative: 1 out of 183
183 movie reviews
  1. Across the Spider-Verse leans into the artificiality of its world: its central, postmodern concern is how the multiverse will be affected by the tangled web of various Spider-Man narratives. If you don't happen to be a universe-hopping comic-book superhero, it's hard to relate to any of it.
  2. It remains what it always was: a charming, escapist fairy tale.
  3. In some ways, the film resembles an abyss-black absurdist comedy sketch or a video art installation. It could be said that its sole observation is the continual co-existence of grotesque cruelty and blithe workaday life, but it makes that observation with such rigorous formal control and unblinking dedication that its power to shock never diminishes.
  4. The deliberate pacing and sometimes confusing narrative make Monster less engrossing than some of Kore-eda's work, and less likely to win prizes. But it is still a marvel: a minutely observed, profoundly compassionate chronicle of untidy contemporary lives. It's a Hirokazu Kore-eda film, in other words.
  5. The combination of Depp and Maïwenn may have seemed like a dangerous one, but on this occasion they're playing it safe.
  6. Leterrier's achievement in assembling such a gargantuan, multi-stranded, globe-trotting, head-spinning blockbuster is impressive, but however many gruff sermons Dom makes about his family, it's impossible to care about any of it.
    • 75 Metascore
    • 80 Critic Score
    Polite Society is an action-packed, genre-blending delight that fires on all cylinders. Everything – from the writing to the cinematography, the performances, the choreography and the soundtrack – is on point, and it has all the requisite ingredients to be an exhilarating experience for audiences that come along for the ride.
  7. This one may be the most unruly and excessive of the trilogy, but it is as sweetly touching as any film with so many slimy, tentacled monsters in it could be.
  8. Viewers are sure to be impressed by Aster's prodigious imagination and technical skill, amused by his gallows humour, and amazed by some of the outrageous images he puts on screen. But whether they will be enthralled by the film is another matter.
  9. Renfield is worth watching for Cage, Hoult and Awkwafina's entertaining performances, and not much more.
  10. The film-makers are obviously so sure that they have a can't-fail franchise on their hands that they haven't even bothered with world-building.
  11. Dungeons & Dragons: Honour Among Thieves is no masterpiece, but it's warm, upbeat, unpretentious entertainment, and it's bound to be popular. We certainly won't have to wait another 23 years before the next Dungeons & Dragons film comes out.
  12. Running at 2 hours and 49 minutes, it is bigger than the previous films in every way ­– not better or worse, just more.
  13. It might be best to watch Cocaine Bear at home, where you can skip past the rambling sections and go straight to the laughs and screams. In the cinema, most viewers will wish that it was wittier, faster, and more willing to fulfil the gonzo potential of its in-your-face title. It's definitely better than Banks's last film, Charlie's Angels, but you can't help feeling that she has done the bear minimum.
  14. Bill Murray has a single scene as Lord Krylar, an amalgam of all droll Bill Murray characters. William Jackson Harper is wry as a sympathetic telepath, who unfortunately disappears for much of the film.
  15. While Channing Tatum is charismatic, and there are a few flashes of wit in the script, the latest Magic Mike sequel is 'tepid'.
  16. Knock at the Cabin ends up being no more than a passably tense, low-budget chamber piece that doesn't do justice to its Old Testament conceit.
  17. The chilling fact is that the real world has overtaken the one in the film. If you read any article about how AI is creeping into our lives these days, then M3GAN's killing spree will seem quaintly innocuous in comparison.
  18. At its best, Chazelle's film is a cinematic marvel, evidence enough that movies are magical, as it sweeps us into the beautiful, terrible world we recognise as Hollywood even now.
  19. The stage is set for a rip-roaring adventure, a space opera sprinkled with debates on the ethics of colonialism and assimilation. But then Cameron takes the film in a new direction - and The Way of Water becomes a damp squib.
  20. It has the ring of a tall tale that has been told in pub after pub, gathering weird new details every time, until it has become a part of Irish folklore. It's a story that you'll want to hear – and tell – again and again.
  21. The deepest flaw in My Policeman is that we grasp too little of the characters' inner lives.
  22. Bros races along almost until the end when it embraces romcom elements, including a montage, that land as more clichéd than subversive. But that doesn't make the rest of this charming film any less entertaining and effective.
  23. Craig's performance is wily and joyful, and the film's biggest flaw is that there is too little of him, as Johnson often turns the spotlight from Blanc to other characters.
  24. The Woman King leans toward fantasy in its heroic moments, but is rooted in truth about war, brutality and freedom. It is a splashy popcorn movie with a social conscience.
    • 50 Metascore
    • 60 Critic Score
    Blonde is less preoccupied with building a faithful portrayal of the real-life figure than with translating the brutal ruthlessness of celebrity, holding an uncomfortable mirror up to the people who enjoy dabbling in voyeurism neatly packaged as entertainment.
    • 45 Metascore
    • 60 Critic Score
    It is a flawed film with a kind heart, but a significantly less impressive progeny of The Father's talky triumph. Like father, like son? Sadly, that doesn't seem to be the case.
    • 48 Metascore
    • 40 Critic Score
    It is frequently rudimentary and repetitious – hammering home the same basic point about gender politics while a dulled supporting cast fails to add much colour to the story's margins.
  25. The Whale retains the pacing, structure and conventions of a solid but clichéd melodrama.
  26. What's captivating about Bones & All is that it is so understated. The first few gory scenes suggest that Guadagnino has made an outrageous black comedy that gets its startled laughs and screams by contrasting the conventions of a coming-of-age romance with those of an X-rated monster movie. But soon Bones & All becomes entirely straight-faced. It isn't a horror film or a comedy, it's a sincere, sweet indie road movie that happens to feature bloodthirsty serial killers.

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