Screen International's Scores

  • Movies
For 1,735 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Shape of Water
Lowest review score: 10 American Skin
Score distribution:
1735 movie reviews
  1. The subtle brilliance of its mise-en-scene, from 1980s Ohio boardrooms and rubber-chicken dinners to all-black wait staff and the casual discrimination against women, beds the story in the awful truth.
  2. Not quite thrilling or hilarious enough, writer-director Elizabeth Banks’ take on the 1970s television series preaches empowerment and gender equality, and leads Kristen Stewart, Naomi Scott and Ella Balinska prove to be fun company. But this fizzy entertainment is yoked to a dull spy story which recycles genre tropes without adding much that is new to the mix.
  3. Wanting to honour history, Midway proves to be an oddly polite war film, afraid to be too exciting lest it interfere with the solemn tone.
  4. Shamelessly sentimental but also dedicated to the proposition that, in our dark political moment, kindness still matters, director Paul Feig’s film benefits from the adorable rapport of stars Emilia Clarke and Henry Golding, who help puncture the story’s conventional trappings.
  5. Hoping to be a stylish, witty conman thriller, The Good Liar starts out as an amusing lark but fails to stay ahead of its audience, piling on the ludicrousness until it’s impossible to take the proceedings seriously.
  6. Extravagant camera moves, woozy fish-eye lenses and a full-on assault of CGI fail to give this story of warring inventors much in the way of a dramatic charge.
  7. The result is an intriguing, smartly sustained drama in which we learn to be wary of those who claim the moral high ground.
  8. Flanagan brings enough smarts and soul to the flawed, fascinating Doctor Sleep that he manages to escape The Shining’s shadow mostly unscathed.
  9. I Lost My Body (J’ai perdu mon corps) is sit up and take notice animation.
  10. Gibney’s story is clearly told and wholly engrossing.
  11. Everyone here appears to be revelling in the juicy opportunities Earthquake Bird brings to hit up our memories of everything from Fatal Attraction to Single White Female.
  12. The downside to a film that includes multiple shots of a clock counting down is that it provides audiences with an unintended rooting interest: we’re just hoping it gets to zero soon so we can leave the theatre.
  13. Told with raw emotion and lurid violence, it transforms elements of his life story into a disturbing, eye-opening coming of age drama.
  14. Although less convincing when it tries to say something meaningful about racism and police brutality, Black And Blue has sufficient pulp pleasures and a winning confidence in executing its modest ambitions.
  15. Unlike this film’s sleek killing machines, the new installment is creaky and sometimes clumsy, and yet it ultimately succeeds by delivering sufficient thrills while also offering just enough emotional depth to keep viewers engaged in its familiar man-versus-robot tussle.
  16. Mistress Of Evil invests heavily in inundating our eyeballs with relentless enchantment, which unfortunately translates into largely dreary CG renderings of pixies, sentient trees and other woodland critters
  17. Never satisfyingly kooky, spooky or ooky, the new animated Addams Family film transports Charles Addams’ lovably macabre clan into the 21st century, resulting in an undistinguished children’s comedy full of dull pop-culture referencing and half-hearted commentary about the importance of inclusiveness.
  18. Sink Or Swim works because of a screenplay with some genuinely funny moments and a jaunty, confident approach from Lellouche that displays his sure comic timing and faith in the performers.
  19. VS.
    A compelling drama that transcends its generic roots.
  20. An elegant, sometimes eerie film, Celebration does not editorialise: its only implicit commentary is a futuristic electronic score, which suggests that Saint-Laurent is something of an extra-terrestrial being. A tender, more melancholic work than its title would imply, Celebration should not be construed as a debunking of its subject, more as a gentle lament for an institution fading into the sunset.
  21. With its Sadeian overtones, and glumly perverse excesses, this is not a particularly enjoyable experience. It will be best suited to the more experimental fringes of the festival circuit and to audiences who thought that Salo: 120 Days Of Sodom was too much fun.
  22. Although MEMORY follows some templates of the format, trying to lock Alien into a cultural and political framework, the film itself transcends that obviousness.
  23. Fascinating and informative, it’s a ‘must-watch’ for film students and fans alike.
  24. The Irishman is vintage Scorsese, with an often sinuously moving camera, occasional break-the-fourth-wall monologues, wicked wise-guy humour, and explosions of sudden tenderness and casual violence. And its final half-hour pulls something even deeper from the filmmaker – moments of reflection, twinges of regret, worries about chances thrown away.
  25. Seen at 60 frames per second (fps) on 3D-Plus (2K resolution), Ang Lee’s action spectacular Gemini Man proved a compulsive watch: not for the usual ingredients of can’t-look-away Hollywood cinema such as acting – Will Smith takes a dual role - or plot, both of which fell a little flat, and seemed almost wilfully generic. As a viewing experience, though, this picture delivers as a prototype of future action film-making.
  26. The result of the collaboration between mother and son brings no great epiphanies but it remains a film that both beguiles and unsettles as it salutes a remarkable woman and the enduring demands of ties that bind.
  27. Armin seems to get less interesting as a character rather than more as his quest for survival takes priority. Ultimately you wonder whether, dramatically speaking, it was worth wiping out a planet full of people just so that one useless bloke could finally get his act together.
  28. An artful, deeply felt documentary, Always in Season has its own, sadly necessary reasons for being.
  29. Hugh Jackman commits fully to his role as a vain superintendent trying to stay two steps ahead of his lies and self-delusion. Ultimately, though, the character and themes feel a little too simplistic — a movie’s paltry attempt to explain the inscrutability of human nature, which is so interesting precisely because it’s so mysterious.
  30. To be sure, there are moments where the film’s studied quirkiness achieves something close to Piper’s objective, but the movie is so maddeningly uneven and brazenly combative that it’s hard to surrender to its ambition.

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