NME's Scores

For 48 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Drive My Car
Lowest review score: 20 Death on the Nile
Score distribution:
  1. Positive: 23 out of 48
  2. Negative: 4 out of 48
48 movie reviews
  1. A career of such breadth and note deserves deep exploration, certainly, but so much of the greatness of Morricone’s music speaks for itself that exposing the workings rarely enhances the piece.
  2. Some genuinely exciting action sequences save Jurassic World Dominion from being a complete turkey – a thrilling raptor versus motorbike chase is one of the highlights. Otherwise, the trilogy exits with a whimper rather than a roar.
  3. Kids are scary. If you didn’t think so before, you definitely will after watching The Innocents – one of the year’s most quietly unsettling horror films.
  4. Vortex might act as a balm to some viewers who see themselves in this quietly tragic family portrait. But, if you’ve ever had even the smallest existential fear of growing older and dying, or watching this happen to people you love, tread carefully around this one.
  5. Top Gun: Maverick does exactly what its intended audience wants it to do – pile on the airborne thrills and steely military heroics without knotting things up with too much moralising or complex character development.
  6. Less a balanced exposé than a tabloid scoop played for shocks, the film never even bothers to ask why any of this might have happened.
    • 78 Metascore
    • 80 Critic Score
    At the core of This Much I Know To Be True are sumptuously-shot performances of choice tracks from the Bad Seeds’ ethereal ‘Ghosteen’ and Cave & Ellis’ lockdown revelation record ‘Carnage’, all filmed in breathtaking arthouse style in an abandoned factory in Bristol.
  7. Men
    Garland, having dipped with his interesting-but-flawed puzzler Annihilation, returns to the form of the excellent Ex Machina here with a shocking, hilarious and terrifying take on grief and masculinity at its most toxic. Thrilling stuff.
  8. Somehow, Raimi – with strong, grounded turns from Cumberbatch and Olsen – just about keeps the film from running too far off the rails.
  9. There’s plenty to admire in Silverton Siege, but most of it comes from the true story itself, with the film squandering every opportunity it has to make an impact.
  10. The film’s emotional beats don’t hit as hard as its musical ones.
    • 82 Metascore
    • 100 Critic Score
    It’s all properly violent and uncivilised.
  11. It all adds up to a film that’s brave, fascinating, grim and irreverent: in other words, vintage Verhoeven.
  12. The Lost City isn’t cutting-edge entertainment, but it is a decent action film boasting a great cast and some good jokes, without a superhero in sight. That alone is cause for recommendation.
  13. With such conflict already swirling around the films, is there any hope that new sequel The Secrets Of Dumbledore might cast a spell over audiences? It would help if the plot wasn’t so convoluted.
  14. Never quite sure enough of itself to answer its own questions, this is a fun, sweet and occasionally funny film, but it’s never going to win a battle of the band movies.
  15. If we’re to understand Hoon’s life through his footage, it’s as a victim of a lifestyle that amplifies not just the sounds in your head but the problems at your core.
  16. Watching Pine and Newton try and erotically spoon-feed each other bits of bacon while secretly trying to work out if they have to kill each other is more than enough to hang an entire film off. It’s just a shame the rest of the movie isn’t up to scratch.
  17. Gyllenhaal clearly loves losing his mind as the nice-guy/bad-guy with a mad streak, and Abdul-Mateen grounds it all in some kind of sticky morality, but it’s González that holds the film together from the backseat.
  18. Hamaguchi’s literary and densely layered drama moves slowly through its runtime, but stick with it and Drive My Car rewards patience like almost nothing else.
  19. None of the characters have meaningful motives – and they’re so thinly drawn that they’re almost transparent.
  20. Apatow has assembled a fantastic cast of A-listers and friends for his take on the pandemic. Unfortunately, it’s not very funny.
  21. If you’re already a fan of the game – and want to see Jovovich at her baddie-squashing best, then you’re in for a treat. And a little brainless escapism never hurt the rest of us either.
  22. Sonic 2 is certainly a fan-pleaser and comes pre-loaded with a post-credits scene that hints at more action (and more game throwbacks) to come. Who remembers that dodgy first design now?
  23. It’s a smart and stylish sequel that’s endlessly entertaining; but more than that, in the dumpster fire of 2020, Wonder Woman 1984 is a two hours of hope filled escapism – something all of us could do with right now.
  24. You can largely predict what will happen, but that’s okay. To All The Boys: Always and Forever is sweet, sleek and has plenty of charm. Sometimes, that’s all you need.
  25. Garfield’s performance is a compassionate one, careful not to hide Larson’s vainer side but also presenting him sympathetically.
    • tbd Metascore
    • 80 Critic Score
    As a meditation on depression, anxiety and touring, Anonymous Club isn’t just valuable viewing for Barnett’s die-hard fans, though they will no doubt cherish this film which captures the artist at her most open, outside of her music. For the first time, we’re invited into the club.
  26. Full of sex without ever being sexy, and twisted into the shape of a thriller without having any actual intrigue or suspense, it still stands up as the kind of adult relationship drama that’s gone out of fashion – just as trashy as it is complex.
    • 76 Metascore
    • 80 Critic Score
    It’s definitely the sexiest film of 2022 so far, but also the one with the most heart.

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