CineVue's Scores

  • Movies
For 1,128 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 4.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Jaws
Lowest review score: 20 Burying the Ex
Score distribution:
1128 movie reviews
    • 84 Metascore
    • 80 Critic Score
    While the film rarely approaches the existential gut punch of Toy Story 3’s conclusion, the various answers each of our heroes arrive at are among the most moving of the quartet.
  1. It is dull, cynical and utterly mirthless.
    • 75 Metascore
    • 80 Critic Score
    Ultimately, Diego Maradona is about the corrupting influence of exceptionalism – swept into the game and made financially responsible for his family at 15, the arrested development Maradona suffers is writ large and ultimately leads to his downfall.
  2. Serving as nothing more than a guileful show, Tcheng’s approach delivers a catwalk of clips and interviewees that becomes rather long, even in its 105-minute runtime.
  3. The whole affair feels perfectly adequate – nothing more or nothing less. As always, Moore delivers a nuanced portrayal of a middle-aged woman that is as sumptuous to watch as her graceful ageing on screen over decades worth of work.
  4. While not entirely successful, the film’s sense of finality gives the main players space to grow, unhampered by the usual carousel of upcoming sequels and spin-offs.
  5. This is a powerful and beautifully shot film of love and survival.
    • 79 Metascore
    • 80 Critic Score
    Too Late to Die Young is Castillo’s remarkable endeavour to relive memories, sensations and lived moments from a time and place she has long since left behind.
  6. Whether one can get on board with such nonsense determines the subjective success or failure of King of the Monsters.
  7. For all its heart and warmth, the desire to offer as many contrasting viewpoints as possible leads to a sense that the biggest elephant in the room isn’t really being dealt with. Support the Girls, ultimately, is a film about an industry built on sexism, that prefers not to dwell too long on the question of sexism itself.
  8. A hugely accomplished debut, and an innovative approach to filmmaking, Cummings will be one to watch for sure.
  9. Efira is a dominant and compelling presence and Sibyl is frequently funny. Ultimately, it never quite squares the circle of the comedy and the pain, but Triet is a sophisticated filmmaker and this – her third feature – is further proof of great talent.
  10. Covino’s brilliant comedy is original and smartly entertaining: a celebration of male friendship in all its ups and downs.
  11. Hawkins smartly keeps the details of Mannings’ leaks – both in their content and the manner of their distribution – to a tight segment at the film’s mid-point. The effect is to create space for the film to explore something altogether messier and contentious – Manning’s identities as a trans woman and a political activist, and the problematic, even dangerous, ways that her private self and public persona relate.
    • 84 Metascore
    • 60 Critic Score
    Booksmart has its undeniably crowd-pleasing moments, but it doesn’t stray as far from the status quo of the genre as it possibly could have.
  12. Zombi Child is a stirring and highly peculiar piece of work.
  13. Some actors can play anything, but asking super-posh and glamourous Seydoux to play dirt poor is an ask too far.
  14. It’s just Huppert on autopilot and like that dry white wine, you can have too much of it.
  15. A masterful dissection of social inequality and the psychology of money.
  16. Told respectfully and far from tarring an entire religion with the same brush, Young Ahmed is an exceptionally crafted and intelligent film.
  17. Once Upon a Time in Hollywood is bold, beautiful and brutal. It’s Tarantino’s best film since Kill Bill, perhaps even since Pulp Fiction.
  18. Not since Jane Campion’s The Piano has a costume drama presented such a gorgeous view of love from a woman’s point of view.
  19. The editing might be unexpected, unconventional, a bit annoying, but it is also very smart. Creating as it does a vital tension between plot and theme, pushing the two characters unrelentingly towards an event horizon and black hole denouement.
  20. If you’re an admirer of Malick’s poetic investigations into the mysteries of existence, faith and our tragic disconnection to the natural world, A Hidden Life will leave you enraptured and profoundly moved.
  21. Although the handling of certain plot dynamics on occasion isn’t as strong as its potent aesthetic finesse, Ly mounts a thriller operating as a savage indictment of social policies and underhand police tactics and ass-covering corruption.
  22. Eggers has created a film of disturbing horror, absurdist comedy and probing psychodrama which defies the generic boundaries as it breaks through them. The Lighthouse is a saltwater gothic masterpiece.
  23. Compared to the sophisticated and nuanced horrors of Black Mirror, Little Joe feels like a fairly straightforward riff on a very familiar idea.
  24. Precision, energy, and innovation move the components of John Wick, but the synergy that comes from their singular motion transcends mechanistic clockwork into vital, aesthetic flow.
  25. Laverty and Loach have created another hard-hitting, powerful film, spiked with humour and moments of rare but profound humanity.
  26. It doesn’t quite click, is too weird, leads to a lurch from one cinematic style to the other and fails to gel as a satisfying whole. Yet the director’s imaginative intention is apparent in the first shot.

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