Richard Lawson

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For 166 reviews, this critic has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 3 points higher than other critics. (0-100 point scale)

Richard Lawson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Phantom Thread
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Negative: 11 out of 166
166 movie reviews
    • 32 Metascore
    • 45 Richard Lawson
    Hopefully the deceptively stern ideological stance of The Secret has been dampened enough by Tennant and his cast’s efforts (the great Celia Weston is also a standout as Miranda’s hovering, lightly nagging mother-in-law) that only the better, more wanly encouraging notes of its decidedly capitalist fantasy will linger in people’s minds.
    • 82 Metascore
    • 80 Richard Lawson
    Its moral identity aside, this is a staggering piece of filmmaking. The Rosses have a keen command of picture and motion; their film is riveting from the jump, swiftly and totally enveloping us in the bonhomie of Michael and his bleary company. Maybe the non-reality of it all isn’t worth fretting about.
    • 64 Metascore
    • 70 Richard Lawson
    Greyhound has texture—it’s carefully, credibly mounted and subtly performed—but doesn’t do much with it. There’s nothing wrong with a fleet little chase movie, but the Battle of the Atlantic had real sprawl, both in terms of its geography and its crucial effect on the outcome of the war. That scope is only gestured toward in Greyhound, undermining any possibility that the film might take on an epic shape.
    • 70 Metascore
    • 85 Richard Lawson
    The Old Guard is a naked attempt to kick off a franchise, but I wasn’t bothered by all those obvious table-setting mechanics because what they’re establishing is so tantalizing.
    • 77 Metascore
    • 90 Richard Lawson
    Murphy animates Rita Kalnejais’s script—itself an inventive reimagining of cliché—with insistent artistry, announcing her arrival as an ascendant talent.
    • 50 Metascore
    • 75 Richard Lawson
    Eurovision has its clunky stretches—Ferrell’s script, written with Andrew Steele, could be a little tighter, a little sharper, and still keep its rambling appeal—but the film is routinely rescued by a deftly staged music number or an invigoratingly off-color joke.
    • 67 Metascore
    • 45 Richard Lawson
    The King of Staten Island is about growing and learning lessons—but not much is learned, and there’s little growth.
    • 58 Metascore
    • 75 Richard Lawson
    The High Note isn’t an ecstatic, tenuously held burst; instead, it’s a mellow pleasure, sleekly directed by Ganatra, who turns Flora Greeson’s occasionally programmatic script into something of smooth, sensual warmth. It is, above all else, an inviting opportunity for two likable actors, Dakota Johnson and Tracee Ellis Ross, to simply exist on screen together, fluid in their casual appeal and gracefully bringing a sappy, aspirational story to mostly credible life.
    • 69 Metascore
    • 75 Richard Lawson
    You can’t taste all the miraculous food the sorry men of The Trip to Greece are served. But you can, at least, relate to the feeling the film evokes. It’s the wonder of new experience giving even further gravity to all that’s come along and happened before—and will, on some dusty day in some impossible future, hopefully happen again.
    • 55 Metascore
    • 45 Richard Lawson
    With more patience, and a little rigor, Military Wives could have been a massive crowd-pleaser. As is, it’s only fleetingly charming.
    • 43 Metascore
    • 30 Richard Lawson
    Scoob! is a dumb movie, full of creaky topical references and jokes that are above kids’ heads but below adults’. It’s also pretty boring, because it makes no real effort to give the plot any sort of cinematic build.
    • 46 Metascore
    • 35 Richard Lawson
    There is, alas, nothing enriching about Capone. It offers none of the robust competence these dwindling-culture times are running low on. Perhaps more dismayingly, it’s not even entertaining. The film’s arresting oddity is fleeting, and then we’re just made to sit with it for another humid 90 minutes.
    • 56 Metascore
    • 70 Richard Lawson
    As a dancer to Hargrave’s violent tune, Hemsworth acquits himself beautifully—he gets a grim and maybe irresponsible assignment done quite well.
    • 60 Metascore
    • 65 Richard Lawson
    We can feel a richer idea tingling just beneath Sea Fever’s skin. But Hardiman never roots it out, opting instead for a restraint that is often admirable, but also dampens the film’s potential power.
    • 51 Metascore
    • 40 Richard Lawson
    All of this is not bad, exactly; it just takes no time to be good. World Tour is barely a movie. It’s a jumble of half-length animated music videos stitched together with the thinnest of throughlines.
    • 61 Metascore
    • 63 Richard Lawson
    It’s a solid nature movie, not quite factual enough to be a true work of scientific observation, but engaging and persuasively conservationist in its subtle way.
    • 54 Metascore
    • 67 Richard Lawson
    While Michael Fimognari’s film does have some heart-fluttery moments—chiefly the first reappearance of heartthrob Peter (Noah Centineo), framed in a doorway and blessed with a nice winter jacket and a crooked smile—what’s more arresting is its gentle wisdom about all the stuff that happens after the swoon.
    • 91 Metascore
    • 95 Richard Lawson
    It handles a tricky topic with so much persuasively unadorned compassion that it has the genuine potential to change hearts and minds about one of the country’s most contentious battles.
    • 61 Metascore
    • 70 Richard Lawson
    There’s something sweetly clumsy about how Stargirl invites us back in time, to twenty years ago, when such a made-up person might have surprised and delighted us. Stargirl is a strange but not unwelcome reminder of that fact. How quaint of us. How quirky, really.
    • 86 Metascore
    • 80 Richard Lawson
    The film is sturdy, galvanizing, the sort of movie that might help rouse people out of despair and into the good fight. The spirit of revolution—righteously angry yet full of bonhomie, demanding but generous in its reach—is alive and well in the film. As, one hopes, it is everywhere else.
    • 66 Metascore
    • 65 Richard Lawson
    With The Way Back, O’Connor works so hard to avoid sports movie cliché that he pares the film down to something unsustainably lean. Without Affleck’s gravity, The Way Back would just drift away.
    • 64 Metascore
    • 80 Richard Lawson
    Rarely in Big Time Adolescence does anything feel canned or beyond the realm of the credible. All the characters in the film seem to have inner lives; we believe that they exist past the confines of the film. It’s a pleasure to be in their warm and appealing company, even as the proceedings take a turn for the mildly dire.
    • 72 Metascore
    • 65 Richard Lawson
    The Invisible Man loses its personality as it tumbles into the third act, and with it goes a lot of the emotional fiber Moss has worked so hard to spin into something rich and memorable. She still holds her own as the movie crumbles around her, but her performance deserves better than what Whannell ultimately gives her.
    • 60 Metascore
    • 75 Richard Lawson
    It’s a freeing movie, not without its flaws and missteps, but wonderfully alive with all the looseness of new possibility.
    • 87 Metascore
    • 90 Richard Lawson
    The Father is an act of understanding, radical in its toughness and its generous artistry.
    • 74 Metascore
    • 70 Richard Lawson
    Promising Young Woman is not always surefooted in its style or substance, but Mulligan is consistently riveting throughout.
    • 76 Metascore
    • 80 Richard Lawson
    Shirley is a relentless film, ceaselessly in motion. Its actors, then, must go chasing after it, with Moss leading the fearless charge. She brilliantly maneuvers the film, moving in fluid response to Decker’s stimuli.
    • 68 Metascore
    • 70 Richard Lawson
    Colangelo grapples with all that is unfixed in this story with wise consideration. Worth finds its ultimate value in accepting what the film, and we, cannot ever determine for certain.
    • 65 Metascore
    • 55 Richard Lawson
    The film looks away from that pure artistry too often, turning instead to its limited, and far less satisfying, view of Swift’s complicated star profile.
    • 49 Metascore
    • 65 Richard Lawson
    Downhill is a clever movie when it could have been profound, had, perhaps, Faxon and Rash been willing—or capable—of digging deeper.

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