CineVue's Scores

  • Movies
For 1,407 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 5.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Girl
Lowest review score: 20 Inferno
Score distribution:
1407 movie reviews
  1. A Glitch in the Matrix’s incuriosity and unstructured approach to its material at best mirror its subjects’ modes of thinking; at worst, it is little more than a voyeuristic freak show.
  2. The Capote Tapes show a talent that seemed to go to waste while at the same time teasing us with the possibility that there is more yet to come.
  3. In seeking to understand both abuser and abused, Slalom offers a truly nuanced picture of abuse without sacrificing indictment.
  4. The same ragtag energy which propels it can occasionally become distracting, and there are sequences in the script which feel gratuitous. However, its independent spirit shines through gloriously, reminding the viewer that, really, a decent story and some talented actors is all that’s required to make a movie.
  5. In sensual romantic drama Simple Passion, Lebanese-born director Danielle Arbid captures viscerally that peculiar detachment that comes from romantic and sexual infatuation.
  6. Though physically confined to a single, overcrowded communal space inside La Maca, Night of the Kings travels well beyond its bars and high walls, soaring far and wide with spirit, invention and imagination.
  7. Chief in CODA’s achievements are the dynamics of the very close unit at its core. Coming away from the film, there is the sense that this could very well be a real family.
  8. Overshadowed at the time and since, Summer of Soul brings the Harlem Cultural Festival and a pivotal point in American history into the light.
  9. An impressive, lingering debut from Hall, Passing exists as a fragile, precious, impossible reverie within a snow globe that could shatter at any moment.
  10. Blurring traditional boundaries of documentary with rich, beautiful animation in many shades and colours, the Danish director has a great deal invested in telling this story.
  11. A galling, distressing but enthralling documentary.
  12. A lacklustre, clichéd and at times wholly unbelievable film.
  13. As a purely aesthetic cinematic experience, Beginning will surely number among the best of the year.
  14. Combining a realist setting with a dreamlike style, The Road to Mandalay could easily have become a well-intentioned polemic, yet thanks to Midi Z’s brilliant command of visual metaphors and compassion for his subjects it’s elevated into a an unnervingly immediate portrait of the human cost of displacement.
  15. With believability being pushed too far, and the film’s direction needing a tighter pace, even the surreal visual effects and trippy weirdness aren’t quite enough to make it work.
  16. American filmmaker Ryan White, director of the acclaimed Netflix mini-series The Keepers, spins a web of riveting, murderous intrigue in his latest documentary Assassins.
  17. A Ghost Waits is an unexpectedly heartfelt gem of micro-budgeted filmmaking.
  18. As a fictionalised account of what was once described as the worst European genocide in the post-war period, Quo Vadis, Aida? is wrenching and vital in its bitter grief. As a study of political and diplomatic inertia in the face of contemporary global human tragedies, it could not be more urgent.
  19. It shows the desperation, the pain and the suffering, but it also reveals the spirit and fortitude of those tasked with caring for the sick.
  20. Dear Comrades! works well as an historical drama, a political satire and even a cold-war thriller. It’s brilliance, however, lies in its study of the profound cognitive dissonance that comes of all totalitarian systems.
  21. MLK/FBI is an insightful, adroitly constructed documentary which seeks to mine new truths from a recent, tangible past. Filmmaker Sam Pollard pits the aspirations, endeavours and character of a great, but flawed humanitarian against the racially-driven, underhand tactics of a tyrannical government organisation.
  22. No doubt thanks to her own wealth of acting experience, King elicits outstanding performances from her cast, proving that big boys do cry when the stakes are high enough and love, respect and hope triumph over hate.
  23. The film should scratch an itch for the Bowie obsessive hungering for a decent take on the overall mythology, but at the same time, it may leave that very audience wondering when, if at all, the South London lad will get a more comprehensive big screen outing.
  24. Following the freewheeling day to day life of dogs living on the streets of Istanbul, the initial novelty and intrigue of this extraordinary documentary broadens further to a profound meditation on how mankind treats our so-called best friends, and one another.
  25. There are glimmers of a more complex, empathetic film here: the main cast do fine work with what they’ve got and the film’s apparent detachment from its characters mirrors the empty indifference that often characterises depression. But any potential for complexity is undone by the film’s tacky reveals, mawkish speechifying and its often spiteful approach to its own characters.
  26. There’s much more to Oeke Hoogendijk’s My Rembrandt than initially meets the eye. Taking a close, curatorial look, not at the life, times and oeuvre of the great painter himself, but of contemporary relationships with his work, her latest documentary explores, to great effect, the motives for possession, obsession and ongoing fascination with the Dutch Old Master.
  27. Second Spring is a film about endurance and acceptance, tackling its subject matter with quiet poise where a lesser film might have fallen to mawkish sentiment.
  28. Much of this documentary sequel to to Thomas Balmès’ 2013 film Happiness is beautiful and humane, but is more often simplistic and questionable in its exploration of the impact of technology on a traditional society.
  29. Phyllida Lloyd’s strong third feature, Herself, is as much an indictment of the grinding bureaucracy failing to house and protect women abused at the hands of their partners, as it is the men who inflict such despicable physical and psychological trauma.
  30. What lets the film down somewhat is an issue that has dogged much of the studio’s recent middling efforts, namely an inert narrative and a wishy-washy message that ultimately doesn’t have the courage of its own convictions.

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