CineVue's Scores

  • Movies
For 1,595 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Close
Lowest review score: 20 Fifty Shades of Grey
Score distribution:
1595 movie reviews
  1. If not in the right frame of mind, Faya Dayi is difficult to get a handle on. But that, perhaps, is the trick. Instead of trying to pin the film down and understand it logically, surrendering to its poetry and rhythms reveals something altogether more meaningful.
  2. Pleasure is not a morally proscriptive film and seeks neither to venerate nor condemn pornography, but to depict its hollowing effect on those who make it. The film’s title is not accidental; at a time when porn is freely and ubiquitously available, the price of gratification may be cheap, but there is always a cost to be paid.
  3. In one sense, Il buco is a testament to human hubris, contrasting the self-satisfaction of our own temporary structures with the unknowable depth of nature’s works.
  4. Ultimately, Decision to Leave is like a beautiful airport novel of a film. It is far cleverer than it needs to be and is so acted with sly charisma.
  5. It’s impossible not to be beguiled by the sweetness of the comedy, the skill of the performers and sheer craft of the film. But hopefully next time out Kore-eda will use it in the service of a plot which is more believable.
  6. Dhont’s second film is a touching and empathetic treatment of male friendship, superbly acted and beautifully filmed.
  7. Just as we learn to grudgingly like Lizzie, we also see the value in her work as it slowly comes together, emerging from the kiln with new colours and finally being displayed among her family and friends.
  8. In an almost impressive display of ineptitude, Dominion combines the very worst vices of its predecessors in addition to a few new ones for good measure. As well as non-existent characterisation or thematic coherence, quaint concepts like comprehensible scene geography and narrative tension have all but disappeared.
    • 75 Metascore
    • 100 Critic Score
    Films such as the exquisite Funny Face, where all the ingredients came together in picture perfect composition, allows us to share, even if only briefly, in this land of fantasy and make-believe.
  9. Oyate isn’t an extraordinary documentary, but in telling the story of some of the United States’ most marginalised and persecuted people, it is certainly an important one.
  10. Bergman Island is at once an ambivalent love-letter to the Swedish master director Ingmar Bergman and a charming study of the complexities of relationships, the creative process, and the ways that one invariably influences the other.
  11. What we’re left with is a sort of Blairite middle-ground where punches are pulled and no one really comes in for too much flack. Where’s the fun in that?
  12. In a just world, Hadžihalilović would be as acclaimed as somebody like Tim Burton, whose greatest films boast a spiritual connection of sorts to the French director.
  13. Men
    Men is a hallucinatory provocative work which will provoke laughs and yelps and not a little self-reckoning.
  14. A good two-thirds of Top Gun: Maverick is very solid, if unremarkable, but what really gets it off the ground are its top-drawer flight sequences, staged thrillingly by director Joseph Kosinski.
  15. Ava
    Sadly, the film’s final scenes lose their footing a little, clearly unsure of how to close the story, and are indicative of some of the film’s rougher edges. Nevertheless, in its totality Ava is a powerful and authentic depiction of a vital moment in a young woman’s life.
  16. The final twist is so manipulative and cynical as to be actually enraging.
  17. Morgen presents a sense of Bowie as a man who is in search of himself and who, through philosophy and a bold commitment to art, finds his wisdom.
  18. Crimes of the Future still has its strengths. Howard Shore’s score lends a tragic, almost stately emotional counterpoint to the steel of the wit.
  19. Östlund has created a full-throated, roaring comedy of hate against the upper-classes. It is cynical, nihilistic and has no issue about punching down.
  20. Wells’ debut is a frankly astonishing work which will leave a lasting impression.
  21. Kreutzer employs a variety of subtle anachronisms – servants wearing modern glasses, a concrete wall here and there – to allow herself and Krieps the freedom to introduce a modern sensibility that sticks a middle finger up at the polished production design of most films of this genre as casually as Elisabeth does at the decorum of her courtly life.
  22. What elevates Armageddon Time to something more than a piece of indulgent navel gazing is the way that Paul’s coming-of-age is reflected in the national story which closes a chapter on Jimmy Carter to turn a new page into Reaganite 1980s selfishness, reactionary politics and feral capitalism.
  23. Your appreciation or otherwise of the film is going to be greatly influenced by whether or not you’ve seen the original, and as such Final Cut doesn’t really elbow its way to the front. However, if you can stand the slight whiff of decomposition then this deconstruction is fun and clever.
  24. When You Finish Saving the World is fine. It’s well made, witty, and Wolfhard and Moore are effortlessly convincing in their roles; Wolfhard shucking off his Stranger Things image in the process. The problem – if there is one – is in the smooth snark of the title. There are sharp edges here that never bite.
  25. Its quiet visuals are at the heart of Benediction’s sense of dignity and remembrance. Its language is not the passionate rage of Sassoon’s youth, but rather of the quiet, profoundly sad reflections of his later years.
  26. Proceeding with a linear chronology to the present day, Castro’s Spies does justice to the long trials and many tribulations of its engaging subjects without ever flying too far off the expected route.
  27. The Argentinian director’s follow-up to 2019’s Lux Æterna is a typically difficult watch, subjecting us to the grinding indignities of old age, but it also a deeply moving study of lifelong love and loyalty to the bitter end.
  28. For a debut feature, it’s impressive and thoroughly committed to its vision of Hell on Earth. The atrocities, bleak tension and stomach-churning imagery are unstoppable, the director deeming them necessary for maximum impact.
  29. Is Raimi’s latest effort as rich as Spider-Man 2, as revolutionary as The Evil Dead or as fun as Drag Me to Hell? No. But within the self-imposed confines of the studio machine, Multiverse of Madness is about as entertaining as it’s possible to be.

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