CineVue's Scores

  • Movies
For 961 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Mission: Impossible – Fallout
Lowest review score: 20 Transformers: Age Of Extinction
Score distribution:
  1. Negative: 22 out of 961
961 movie reviews
    • 60 Metascore
    • 60 Critic Score
    For every slick moment of style, there is an immensely somber undercurrent that matches its beating heart and occasional levity.
  1. Cosmatos’ Mandy matches Cage grimace for grimace and achieves, at times, a transcendent midnight madness.
  2. Equal parts arthouse cinema and coming-of-age drama, the influence of his tribute to teen rebellion remains deeply felt.
    • 89 Metascore
    • 80 Critic Score
    This is a story about Kayla but really it is everyone’s story, impossible to recognise when you are in the midst of it but comforting to know that, even back then, you were never really alone.
  3. We all know how this story ends, but in this fable of astronomic ambition it’s about the journey, not the destination.
  4. A Faithful Man may tip its hat to the conventions of film noir – Abel as the patsy, Marianne as the femme fatale – but Garrel’s winking sensibility is far too fun for real darkness. Instead, he gives us a wonderful soufflé of a film – light, airy, and a rare treat.
  5. Venom is a desperately confused piece of work which has only a few compensatory pleasures to offer along the way.
  6. Close’s performance here surely must finally provide her with the Oscar she has deserved for so many years; the suppressed resentment which slowly builds up on her face steadily throughout the film is a masterclass in screen acting.
  7. This is not a run-of-the-mill pop doc: it’s part defiant portrayal of a woman, part autobiographical travelogue, part tale of a country in turmoil through the coming of age story of a young girl, and part meditation on creativity and self-hood, baring all about the elusive grasp of the westernised dream.
  8. The film is freaky, experimental, sometimes hilarious and unnervingly intense.
  9. What Denis’ film is concerned with is the visceral bodily experience and the claustrophobia of living in the middle of the infinite. If outer space is a cold and vast external of nothingness, then there is also an interior space of bodies, living, writhing, and fluid.
  10. While Kursk doesn’t have the sufficient depth required for a truly effective historical drama it certainly works as a well-mounted and occasionally gripping, if somewhat formulaic thriller.
  11. There are few outright surprises in Maya, and though things proceed roughly as we might expect there is a deeper sort of emotional revelation that comes from letting the story proceed on its own terms.
  12. Free Solo goes some way to explaining just why someone would want to do such a thing, but is ultimately more captivated by the vicarious thrill of watching Honnold do his thing.
  13. Genre film or not, Davis’ depiction of profound grief is tremendously effective, elicited by McQueen’s audacious direction.
  14. The film’s biggest weakness is its reluctance to interrogate the personas of its supporting characters.
  15. The vision of the black American experience might be grim, but it is never miserablist or despairing. The songs, the traditions, the love and the community are still there, even if the world seems to be undeniably on fire.
  16. It’s an enjoyable but static viewing experience, where even the tales of wild parties, disco dancing and sex become worn out through overuse.
  17. Weighed down by existential questions, Lucky carries the burden of life’s unanswered questions on his sun-lined face; it’s a fearless portrayal of someone facing the finality of their life.
  18. What begins as an intriguing premise is gradually squandered, used as little more as background noise for comic tics and lazy characterisation.
  19. A deeply felt personal journey, the film shifts seamlessly from unflinching realism to a poetic expression of masculinity in crisis; crossing back-and-forth across the blurred boundary that separates art and reportage to create a totally unforgettable film about the bond between people and place.
  20. Out of Blue undeniably works as a stylish, psychological neo-noir, but significantly less so as metaphysical rumination.
  21. As the film drifts through dream sequences and diversions, the dramatic power of the chase fizzles in the damp of the woods.
  22. Ultimately, Alverson’s The Mountain is arthouse cinema at its frostiest.
  23. While it may be a little better in concept than in execution, there’s enough energy, imagination and innovation here to satisfy any genre hound suffering fatigue from the endless wash, rinse, repeat cycle of the Marvel Cinematic Universe, et al.
  24. With the imperfect but fascinating Endzeit, director Carolina Hellsgård ultimately guides her ravenous wanderers down an original and largely unbeaten track.
  25. If Beale Street Could Talk is a rich, tender and poetic film as much about love as it is about injustice.
  26. The Oscar-nominated Hedges is, as one would expect, superb in the title role, but performances across the board are excellent.
  27. His scattershot approach means that the film frequently wanders off topic, in pursuit of a litany of social, economic and political injustices.
  28. Far from perfect, and very rarely offering us anything unexpected, Beautiful Boy is nevertheless a well-mounted depiction of the terrible cycle of substance abuse.

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