For 195 reviews, this critic has graded:
  • 48% higher than the average critic
  • 6% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Ian Freer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Inside Out
Lowest review score: 20 Police Academy 4: Citizens on Patrol
Score distribution:
  1. Positive: 91 out of 195
  2. Negative: 3 out of 195
195 movie reviews
    • 69 Metascore
    • 60 Ian Freer
    Togo is in a slightly more sombre register than Call Of The Wild but delivers similar sturdy pleasures; exciting dog-in-peril action and striking landscapes, all anchored by Dafoe’s grounded performance.
    • 53 Metascore
    • 40 Ian Freer
    Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.
    • 53 Metascore
    • 60 Ian Freer
    Run
    Well played and well shot, Run’s idea of relocating Springsteen’s America to a rain-swept Scottish fishing town is interesting, but sadly it runs out of gas and road before it hits the horizon. Less baby we were born to run, more baby we were born to drive around in circles for a bit.
    • 44 Metascore
    • 40 Ian Freer
    Despite the odd strong moment, this Bloodshot is anaemic.
    • 69 Metascore
    • 80 Ian Freer
    And Then We Danced is a well-made love story, anchored by a mesmerizing Levan Gelbakhiani and enlivened by electrifying dance numbers.
    • 73 Metascore
    • 60 Ian Freer
    A bizarrely strait-laced project for Todd Haynes, Dark Waters lacks dramatic oomph but compensates via a well-mounted telling of a terrifying story, driven by still contemporary concerns and a convincing central turn by Mark Ruffalo.
    • 47 Metascore
    • 60 Ian Freer
    A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.
    • 53 Metascore
    • 60 Ian Freer
    Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.
    • 71 Metascore
    • 40 Ian Freer
    It should be a delicious chocolate gateau but Emma. makes heavy weather of Austen’s charmer, delivering a tonally uneven, mostly airless affair. Amy Heckerling’s Clueless — Emma in the Valley — remains the big screen benchmark.
    • 60 Metascore
    • 60 Ian Freer
    It’s messy, with a middle section that sags, but Birds Of Prey has vibrancy, anarchy and balls to spare. Harley and Joker are dead. Long live Harley Quinn.
    • 26 Metascore
    • 40 Ian Freer
    Eddie Murphy’s Dr. Dolittle generated four sequels. On this showing, Downey Jr’s will be a standalone, an uncynical but mostly lacklustre kids’ flick that doesn’t find its voice, animal or otherwise.
    • 58 Metascore
    • 60 Ian Freer
    Neither a splendid phoenix from the ashes nor a complete failure, The Man Who Killed Don Quixote is erratic, occasionally inspired, occasionally dull, but shot through with a grandiose sense of ambition. Plus, Driver and Pryce add some magic along the way.
    • 80 Metascore
    • 80 Ian Freer
    It could easily be twee twaddle, but A Beautiful Day In The Neighborhood is a nuanced, formally playful delight, a perfectly pitched and played ode to goodness. All hail Marielle Heller.
    • 68 Metascore
    • 60 Ian Freer
    More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.
    • 78 Metascore
    • 80 Ian Freer
    If you don’t like Malick’s movies, A Hidden Life won’t convert you. But this is the filmmaker on sublime form, putting his artistry and obsessions at the service of something frighteningly relevant.
    • 48 Metascore
    • 40 Ian Freer
    Joining the ranks of Sphere, DeepStar Six and Leviathan as soggy Alien do-overs, Underwater finds a few tweaks to the monster play book, but not enough to make it live.
    • 51 Metascore
    • 60 Ian Freer
    What it lacks in freshness and depth, The Gentlemen certainly makes up for in cartoon-y bluster and fun details.
    • 54 Metascore
    • 60 Ian Freer
    Better in conception than execution, Spies In Disguise never really gets the best out of its James Bond Is A Pigeon high concept. The result is entertaining while it lasts, but won’t lodge itself permanently in your memory bank.
    • 49 Metascore
    • 40 Ian Freer
    A feminist horror flick that lacks nuance in its feminism and thrills in its horror. But it should be applauded for reinterpreting rather than just retreading the original.
    • 73 Metascore
    • 80 Ian Freer
    Anchored by great performances from Liam Neeson and especially Lesley Manville, Ordinary Love is alive to the feelings and moments other hospital dramas overlook. Its accumulation of details form a shattering whole.
    • 85 Metascore
    • 80 Ian Freer
    Beautifully played — especially by Wang Jingchun — So Long, My Son is sprawling, audacious, sometimes bewildering, ultimately moving. It tests your patience but it’s worth it.
    • 75 Metascore
    • 80 Ian Freer
    The Two Popes shouldn’t work, a two-handed conversation about Vatican minutiae. But with great writing, smart direction and late career-high performances from Anthony Hopkins and Jonathan Pryce, it’s a high-end treat. Send up the white smoke, we have a winner.
    • 61 Metascore
    • 80 Ian Freer
    An affectionate portrait of a remarkable woman that loses its grip when it bites off more than it can chew.
    • 60 Metascore
    • 60 Ian Freer
    An interesting, well played and well made attempt to reframe Shakespeare’s most famous play through a feminist lens, Ophelia ultimately doesn’t have the boldness to deliver on its resonant idea.
    • 52 Metascore
    • 60 Ian Freer
    The Amazing Johnathan Documentary starts as a blast but as the journey progresses, becomes ever more slippery: Is Szeles tricking Berman? Is Berman bamboozling us? The answer is entertaining and frustrating in equal measures.
    • 66 Metascore
    • 80 Ian Freer
    An urgent rebuke to a country losing its conscience, The Report is rigorous but riveting. And Adam Driver — once again — emerges as one of the most watchable actors working today.
    • 47 Metascore
    • 40 Ian Freer
    Midway is a big, bold, brazen attempt to detail one of World War II’s most significant moments. But in a post Saving Private Ryan-Dunkirk landscape, it feels astonishing anyone is still making war movies like this.
    • 55 Metascore
    • 60 Ian Freer
    An enjoyable if routine period crime picture with good performances from Jason Sudeikis and Lee Pace, but it lacks a personality and style of its own.
    • 60 Metascore
    • 80 Ian Freer
    The title might sound like something from Marvel Phase Six, but The Aeronauts is an exhilarating period flight of fancy, occasionally weighed down by backstory, but buoyed by Redmayne and especially Jones.
    • 78 Metascore
    • 80 Ian Freer
    If it’s a hard film to like, Monos is ridiculously impressive filmmaking, savage and surreal, immediate but timeless. If Hollywood wanted to do a darker, grittier take on The Goonies, Landes is their man.

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