Phil de Semlyen

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For 138 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Phil de Semlyen's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Leviathan
Lowest review score: 20 Stuber
Score distribution:
  1. Positive: 67 out of 138
  2. Negative: 2 out of 138
138 movie reviews
    • 50 Metascore
    • 40 Phil de Semlyen
    It starts strongly, with the gory deaths coming thick, fast and often unexpectedly, and Damon Lindelof and Nick Cuse’s script giving the viewer no purchase on the unfolding mayhem. The underrated Gilpin is a steely, lib-owning presence, too. But the surprises soon dry up.
    • 70 Metascore
    • 80 Phil de Semlyen
    It takes a lot for a movie to out-bonkers Cage on this kind of form. Color out of Space manages it in style.
    • 78 Metascore
    • 40 Phil de Semlyen
    It’s all heading somewhere special as Kelly muses on masculinity and colonialism, but then coherence gives way to flashy visuals and bursts of expressionistic violence.
    • 61 Metascore
    • 60 Phil de Semlyen
    Where the movie truly comes into its own is in its boldly framed, heart-wrenching coda.
    • 71 Metascore
    • 80 Phil de Semlyen
    You’ll find yourself scouring the frame for this malign force in the tiniest refraction of light. Whannell knows you’re doing it, too, and lets scenes go on so long, you start to doubt your own eyes. There shouldn’t be any doubting the magnetic Moss, though: she’s the real deal.
    • Time Out
    • 48 Metascore
    • 40 Phil de Semlyen
    More damagingly, director William Eubank (‘The Signal’) can’t decide if Underwate’ is a disaster flick or a monster movie. It ends up sinking between the two stalls: too unfocused for the former; not scary enough for the latter. All that early promise vanishes into the murk.
    • 73 Metascore
    • 80 Phil de Semlyen
    As the tragedy unfolds, there’s a strange solace in seeing this captivating enigma somehow emerging intact.
    • 78 Metascore
    • 100 Phil de Semlyen
    1917 is a work of sweeping scale yet pinpoint intimacy.
    • 79 Metascore
    • 80 Phil de Semlyen
    The result is another great showcase for the animation house’s powers of non-verbal storytelling that’s a giddy delight for kids, and just witty and knowing enough for grown-ups.
    • 75 Metascore
    • 80 Phil de Semlyen
    Meirelles injects enough visual snap to remind you that he once made City of God. If the second half gets a little sidetracked by flashbacks, another meaty Vatican scene is never too far away. Watching these two actors chewing over big issues—God, aging, loneliness, celibacy, abuse in the priesthood—under the vast ceilings of this gilded palace is a joy.
    • 55 Metascore
    • 60 Phil de Semlyen
    Director Bill Condon (Gods and Monsters) can do this stuff with his eyes closed, and sometimes it feels like he might be doing that as the plot chugs from London to Berlin and secrets are duly uncovered. But there’s enough visual flair to elevate things above standard genre fare.
    • 64 Metascore
    • 80 Phil de Semlyen
    If Frozen was about coming to terms with who you are, Frozen II is about transformation. Does it offer further evidence for those who saw "Let It Go" as Elsa’s covert coming-out anthem? Sadly not, though she remains an intriguingly elliptical canvas on which to project genuinely groundbreaking ideas about empowerment and identity.
    • 38 Metascore
    • 40 Phil de Semlyen
    If you’ve ever wondered what the boredom threshold is for watching a musician tuning a hurdy-gurdy, you’ll find the answer here.
    • 50 Metascore
    • 60 Phil de Semlyen
    If Last Christmas isn’t quite irresistible in its emotional moments and the cheesiest bits are borderline indigestible, its effervescence makes it a fun enough watch. At the very least, it’ll make you fall hard for its other romantic lead: London.
    • 66 Metascore
    • 40 Phil de Semlyen
    Widows' Cynthia Erivo supplies dramatic weight to a project that squanders it on awkward action moments and simplistic showdowns.
    • 51 Metascore
    • 60 Phil de Semlyen
    The predictable fish-out-of-water comedy gradually gives way to something deeper, as conflicting world views are exchanged, homespun wisdom dispensed and minds broadened.
    • 51 Metascore
    • 60 Phil de Semlyen
    It has a kernel of raw torment and an unforgiving streak that hints at still-unreconciled wounds, too. It’s not the best film of the year, but it’s definitely one of the most personal.
    • 54 Metascore
    • 40 Phil de Semlyen
    Even with the original stars returning, the sequel feels weightless, disposable and hardly the stuff of Skynet nightmares.
    • 66 Metascore
    • 60 Phil de Semlyen
    Its trump card, of course, is Zellweger, who blows through the film in a gust of jittery energy, wounded ego and half-buried star quality. The transformation is startling.
    • 64 Metascore
    • 60 Phil de Semlyen
    Yes, it’s basically an episode of the show stretched out to two hours, but like the Crawley family silver, it’s so polished you can practically see your face in it.
    • 57 Metascore
    • 40 Phil de Semlyen
    The tonal lurches – from jokey to earnest and back again – will have whiplash setting in by the time its eccentric fourth-wall-breaking coda comes around, while some odd casting choices (and accents) drain gravity from the serious moments.
    • 72 Metascore
    • 80 Phil de Semlyen
    Ema
    It's the exuberant yin to the stately yang of Jackie Kennedy biopic Jackie, Larrain’s last film, and it’s full of the pheromones of sexual discovery and the piss and vinegar of toxic relationships.
    • 70 Metascore
    • 60 Phil de Semlyen
    It definitely demands patience ... but it rewards it with a similarly narcotic effect.
    • 62 Metascore
    • 80 Phil de Semlyen
    Sure, some of the historical detail is terrible (did Henry V really get crowned topless?) and Shakespeare purists may scream heresy, but director David Michôd has done something genuinely fresh and confident with this well-told piece of English folklore.
    • 64 Metascore
    • 60 Phil de Semlyen
    The Informer is a film that favours brawn over brains, punching its way through any plot predicaments. A smart hairpin or two would have made it a juicier watch.
    • 59 Metascore
    • 100 Phil de Semlyen
    Joaquin Phoenix is devastating as the villain-in-the-making in this incendiary tale of psychological escape and psychopathy.
    • 80 Metascore
    • 80 Phil de Semlyen
    It’s often thrilling, occasionally improbable, sometimes confounding, but like its director, Ad Astra is never bound by the gravitational pull of the ordinary. Strap in.
    • 45 Metascore
    • 60 Phil de Semlyen
    It’s frenetic, brashly executed and so full of shooting, you’ll stagger away with tinnitus.
    • 71 Metascore
    • 80 Phil de Semlyen
    It’s defiantly cheesy and very hard to resist.
    • 57 Metascore
    • 60 Phil de Semlyen
    It’s all watchable enough but hardly a giant leap for documentary making.

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