Screen Daily's Scores

  • Movies
For 1,895 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Paterson
Lowest review score: 10 The Emoji Movie
Score distribution:
1895 movie reviews
    • 85 Metascore
    • 90 Critic Score
    It’s a picture of love that has led first to desperation and incarceration, and now to a sort of suspended grief, as the girls and mothers face an uncertain future, unsure whether they will ever be reunited, hope mixing with fear to the last.
  1. Stuffed with gorgeous costumes, vivid choreography and deft tunes, Black Is King doesn’t have the depth or anguish that made Lemonade so epochal, but its more inspirational tenor and consistently high artistry make this a feast for eyes and ears.
  2. And as a statement of intent, it’s unequivocal: Rowland combines striking visual flair with razor-wire character studies.
  3. The car chases should be the escapist, high-octane fun part of the movie. But fun is in short supply in a picture which is fuelled by a full tank of ill-will and fury.
  4. She Dies Tomorrow is both cheeky and disconcerting — and unlike life, it ends right when it should.
  5. An intense and touching tale of first love set over a six-week period, Summer Of 85 blends the energy of youth with the curveballs of fate in a pleasant, keenly acted package that, despite a tragic core, will send all but the most strait-laced curmudgeon out of the cinema smiling.
  6. Amulet is deeply, deliberately mysterious, and all the more fun for it; the less viewers know going in, the more ferocious the ride.
  7. A deft and absorbing multi-pronged tale about a kind, hard-working woman whose life becomes a morass of collateral damage, A Girl Missing is satisfying slow-burn drama expertly told.
  8. Fitfully-entertaining, the film says many things in many different ways about one subject – the de-sensitising effect of the have-it-all media age on young people. Prolonged exposure to it will certainly reawaken the senses, although not in a way that’s always welcome.
  9. Freud aside, this is a fairly straightforward boy-to-man narrative, but that it plays out during such a turbulent time in Austrian history brings additional texture.
  10. Strong central performances from Emily Mortimer, Robyn Nevin and Bella Heathcote, as three generations of women from one family, contribute to a sense of claustrophobic unease; a tone which is unnecessarily bludgeoned home by the over-excitable sound design.
  11. Better Days may slide into somewhat hollow artfulness, but it’s hard not to be moved by its genuine concerns.
  12. If it never quite delivers on its promise of cheesy scares, neither does it really try for true psychological thrills with enough conviction.
  13. This accomplished and satisfyingly hard-edged drama harnesses the monetised narcissism of influencer culture and looks beneath the gloss to find an ache of emptiness.
  14. Gagarine’s increasingly wayward trajectory demands of its audience not just a leap of faith but a vault into the stratosphere, and its tone of naïve romanticism could rankle with more jaded viewers. Still, conviction and chutzpah, plus often dazzling execution, will chime with younger adult audiences.
  15. It may not know where to end, and it makes a surprising late-in-the-game play for sentimentality where it has previously been bracingly crisp about hot topics including abortion and post-natal depression, but it’s mostly a wry plea for tolerance when the world is most disposed to hear it.
  16. Writer-director Emmanuel Mouret’s lengthy but deliciously calibrated Love Affair(s) consists of talk, talk and more talk uttered by attractive protagonists in French settings that range from enviably nice to spectacular. This would fit perfectly in a time capsule under ’Unapologetic French Art Film’.
  17. In terms of filmed stage entertainment, Hamilton is a cut above (literally, as there’s an overhead camera, as well as one from the back of the stage). Hamilton is a technically difficult, fast and extremely complex stage show to perform: this film puts the viewer up close but also backs out when appropriate and makes strong strategic decisions on how to frame and move.
  18. In a way, the film is its own genre – the found-footage documentary. There are no interviews with other people, no self-described experts. Just Hoon, who – adding to the film’s melancholy sense of waste – comes across as an unspoiled, charismatic and mostly amiable young man.
  19. Weisse puts her own, distinctive spin on this film, keeping the audience guessing about whose story this really is, feeling its way slowly towards a bracing, risky dramatic conclusion that suddenly reshuffles the cards we’ve been dealt.
  20. As a snapshot of a time, a talent and an album, Spike Lee’s absorbing, moving and resolutely toe-tapping documentary about the music and impact of Michael Jackson’s album Bad, which celebrates its 25th anniversary this year, is a wonderfully complex look into the creative genius of Jackson.
  21. From the very beginning of Athlete A, Cohen and Shenk (Audrie & Daisy and An Inconvenient Sequel) visually confront the audience with the clear physical evidence that their documentary is about abused children and they never let that image fade away.
  22. Compact, edge-of-the-seat storytelling that makes good use of Joseph Gordon Levitt’s decent, appealing everyman persona, 7500 may have its flaws but it still marks an impressive feature debut for Vollrath.
  23. His fans will probably adore it, think it cute and original, the rest of the audience will sigh again in resignation and wonder whether this game of cinema riddles does have anything significant to say behind its smiling, insouciant wrapping.
  24. This is an earnest, half-baked fairy story drenched in a thick soup of CGI. It’s awkwardly staged, with turgid, expository dialogue that is appreciably tricky for a palpably ill-at-ease young cast to deliver
  25. Lee is firing off rounds in all directions here. Some land, some distract, some feel like overkill. For cineastes, it’s a provocative redrawing of the canon; Coming Home or The Deerhunter, and even Stone’s so-called “definitive” work including Platoon now seem only part of the picture.
  26. Like protagonist Pete Davidson, on whose life it is loosely based, The King Of Staten Island is a loping, amiable, sweetly-funny film, and yet you sometimes wish there was a bit less of it.
  27. There’s a savage, sometimes surreal wit to this anarchic tale of violence and revenge; it’s an eye catching first feature from actress Mirrah Foulkes, and an intriguingly eccentric addition to an already offbeat CV for Wasikowska.
  28. The approach is scrupulously even-handed. The film is just as interested in mild-mannered Sue’s journey as it is in Daniel’s coming of age. The screenplay, adapted by Lisa Owens (Bird’s wife) from an award winning graphic novel by Joff Winterhart, is wryly low key, with a keen eye for the subtle stabs and small daily humiliations that gradually mount.
  29. The film’s most rewarding strand is the inventive, pointed way in which clothes and textiles are used as metaphors both for female constraints and female defiance.

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