The Observer (UK)'s Scores

For 411 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Chinatown
Lowest review score: 20 Playing with Fire
Score distribution:
  1. Negative: 12 out of 411
411 movie reviews
  1. What differentiates Sendijarević’s film, however, is the hot-blooded current of feminine lust that runs through it. Zorić’s Alma stomps, pouts and scowls her way through the film, aware of her sexual power and unafraid to use it to her advantage.
  2. It shouldn’t work yet it does, underscoring the tragedy of corrupted innocence, constricting codes of masculinity and the aftermath of trauma.
  3. Crisply British and deliciously no-nonsense, Kennedy is a wonderfully bracing character for Elizabeth Carroll’s deft documentary.
  4. Ema
    The film is all about the chase: it’s an aggressive seduction that teases with bold visual statements, with flesh and flame throwers. But does it satisfy? Not on any deep emotional level, certainly.
  5. It’s a credit to Garner that, as a character who effectively has no voice, she manages to say so much about Jane’s predicament through posture, pose and gesture.
  6. It’s tempting to view Selah and the Spades as a triumph of style over substance, richer in visual promise than thematic rewards. Yet there’s also something thrilling about Poe’s refusal to smooth the odd and potentially alienating edges off this very personal (and ultimately empowering) drama, suggesting a strength of creative purpose that will doubtless pay great dividends.
  7. It won’t be for everyone, certainly, but if social distancing has you not just climbing the walls but contemplating punching a hole in them, this might just be the perfect cathartic lockdown movie.
    • 96 Metascore
    • 90 Critic Score
    The movie's final parting sequence, where Arletty rides away in a coach and Barrault is inexorably swept in the opposite direction by a swirling crowd, is among the peaks of romantic cinema.
  8. The only bum note is the music itself, despite the presence of prestige pop stars including Justin Timberlake, Kelly Clarkson and Mary J Blige.
  9. This should amuse the younger members of the family, but it's unlikely to offer much more to parents than a couple of hours' respite.
  10. Gelbakhiani is commanding in his first acting role, metabolising heartbreak and moving with an irrepressible prowling sensuality.
  11. Sci-fi wipe transitions, 70s-style CinemaScope photography, a drone shaped like a UFO, and a cameo from German actor Udo Kier are clever genre flourishes that playfully deliver the film’s anticolonial politics.
  12. It’s not subtle, or particularly clever, though Glow’s Betty Gilpin is fun to watch as an ultra-violent ex-military veteran with a southern drawl.
  13. Laxe has a masterly command of rhythm and pacing. The action feels unhurried, despite the film’s tight running time, and there is a spaciousness to the world-building; attentive sound design and 16mm photography capture Galicia’s damp, green allure.
  14. The performances, especially the brittle Louis-Dreyfus, are admirably grounded, but the script’s comedy wastes time with lazy barbs about European brusqueness and American exceptionalism abroad.
  15. Ruffalo optioned the rights to Nathaniel Rich’s original article and has an executive producer credit on the film; clearly, he has a stake in the material. The actor is excellent as reluctant hero Bilott, muting his natural charisma to create a character who is both taciturn and generous, determined but socially ill at ease.
  16. This Kelly is motivated by an oedipal complex and wears dresses to distract his opponents; The Babadook’s Essie Davis is equal parts fearsome and magnetic as his enterprising sex worker mother. More enjoyable still are the film’s corrupt policemen; the louche, stockinged, pipe-smoking Constable Fitzpatrick (Nicholas Hoult) and virile cartoon villain Sergeant O’Neil (Charlie Hunnam).
  17. The parallels drawn between Fabienne’s life and the stories she’s drawn to are a little on the nose. “What matters most is personality! Presence!” she declares, determined not to fade into obscurity. Deneuve’s luminous performance ensures she won’t.
  18. There’s enough visual and thematic invention to keep viewers gripped and unsettled, particularly in these unprecedented, isolated times.
  19. Like Maryam’s approach to local politics, the film is well-meaning but occasionally naive.
  20. Most essential is the central performance: Zengel’s oscillating wild joys and storming furies are painful to watch. A moment when she howls for her mother (always tantalisingly out of reach) brought me to tears.
  21. Blessed with not one but two resourceful heroines, and painted with a glittering digital palette which conjures a spectacular backdrop for the romping action (Arendelle and its environs are part Norway, part Narnia), this is terrifically enjoyable – romantic, subversive, engaging and enthralling.
  22. LaKeith Stanfield and Issa Rae light up a beautiful-looking movie that weaves together love stories from the past and present.
  23. This crowd-pleasing comedy drama from the director of The Full Monty hits all the right notes.
  24. A pacy screenplay, co-written by director Francis Annan and adapted from a book by Jenkin, rarely flags, but it’s the nervy camera, hugging the characters at hip height, the better to scrutinise each locked barrier to freedom, that most successfully builds the tension.
  25. Timothy Greenfield-Sanders’s generous documentary is a fitting tribute to the late, great author.
  26. The emotional impact is true and clean. The fractious bond between the brothers and their aching anger at the loss of a parent are evoked with exquisite sorrow and clarity.
  27. Portrait of a Lady on Fire (the French title uses the less Jamesian “jeune fille”) seamlessly intertwines themes of love and politics, representation and reality. At times it plays like a breathless romance, trembling with passionate anticipation. Elsewhere, it seems closer to a sociopolitical treatise, what Sciamma has called “a manifesto about the female gaze”.
  28. Subverting the original text’s point of view allows Whannell to privilege his female protagonist while continuing to explore the novel’s theme of untrammelled power.
  29. Kasbe makes the most of his extraordinary access by presenting the film vérité style, preferring to immerse the audience in his characters’ lives to better make the case for each of their choices.

Top Trailers