Screen Daily's Scores

  • Movies
For 1,848 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 A Fantastic Woman
Lowest review score: 10 Blumhouse's Fantasy Island
Score distribution:
1848 movie reviews
  1. The movie sometimes overstates its ideas, but Poots keeps Vivarium from being just a coy, chilly intellectual exercise. She adds flesh and soul to what might be the film’s most disturbing notion: In some ways, we all become encased in the lives we have stumbled into.
  2. With an ambition that far exceeds its relatively small on-screen scale, Atlantis is a remarkable piece of filmmaking from an exciting emerging Eastern European voice.
  3. Although the story’s point is clear, the plotting is thin, and it can be easy at times for viewers to feel as confined as the prisoners. But the production design – all grey cement walls, with that platform cutting through the center of the screen like an infernal dumbwaiter – is superb.
  4. For a film so tied to a thoroughbred showcase, this broad crowd-pleaser blatantly relies on well-worn parts.
  5. The Hunt is the cinematic equivalent of watching strangers argue on the internet about politics: It’s fleetingly amusing but, ultimately, not the best use of anyone’s time.
  6. Its quiet humanism and painstaking attention to detail are sure to appeal to the core audience which has faithfully followed her for more than a decade.
  7. Often in sports, teams run the same plays over and over again, simply because they work. That’s true of The Way Back as well: We appreciate the expert skill, even if we know almost every move by heart.
  8. In a film lasting a shade over two hours, consisting of just 46 separate shots, the undisputed emperor of Taiwanese slow cinema crafts a ravishing, wordless story of urban loneliness.
  9. Although There Is No Evil is a brave and impassioned work, the seams show.
  10. Those in the ‘for’ camp are likely to find Garrel’s The Salt of Tears one of the most finely tuned and richly achieved of his recent works .
  11. Two bravura performances can’t disguise the thinness of a script that exposes just how uninteresting this ‘sliding doors’ game can be. The Roads Not Taken redeems itself, partly, through the compassion and sensitivity with which it deals with the mind-ravaging illness at its core.
  12. Despite Willem Dafoe bringing gnarled gravitas to a screenplay which pinballs between oblique portent and grotesque shock tactics, this is an incoherent indulgence.
  13. Meditative and meandering, this handsomely shot but unfocused picture might present something of a challenge to all but the most dedicated students of Chinese cultural history.
  14. Petzold’s lean, crisply-shot tale is a deft shape-changer, switching mood and register, interlacing romance with suspense and sudden jabs of humour.
  15. Although perhaps on the enigmatic end of the Hong spectrum, The Woman Who Ran touches rewardingly on themes such as relationship dynamics and gender roles. The delicacy of the predominantly female-driven storytelling is unassuming but beguiling. And Hong goes so far as to skewer his own tendency to indulge monologuing windbag male characters in previous films.
  16. The pleasure of watching five fine actors feed on each other’s crackling dramatic energy drives this sensitive if not exactly groundbreaking Swiss cancer drama.
  17. While the picture doesn’t quite maintain its vigorous energy through to the very end, it is still a satisfyingly knotty exploration of the bi-cultural experience.
  18. Altogether solemn in tone, the film is undeniably handsome, with DoP Benoît Delhomme steeping the Japanese landscape in melancholy atmospherics, but Minimata tends to over-aestheticise its material, not least in the too-elegant recreations of Smith’s black and white imagery.
  19. The film might not be doing anything revolutionary with the gay coming of age story, but it is heartfelt and honest. And at times, unexpectedly hot.
  20. For all its directorial mastery, this austere cine-symposium feels like an artistic blind alley, and one that recklessly presumes an audience of committed chin-strokers with a preternatural attention span.
    • 92 Metascore
    • 90 Critic Score
    Last And First Men is a stunning work of beauty and horror.
  21. In its most poignant, resonant moments, the film feels both devastatingly personal and affectingly revelatory: a simultaneously forceful and tender piece of existential contemplation that’s intricately tied to Wilczynski’s life but still universal in its themes. But when it meanders, which is perhaps more often than it should, it requires serious commitment from its audience.
  22. The second film from Natalia Meta is a slippery thing to pin down. Like the ragged mental state of its main character, it unravels as it goes on. But it is also never less than stridently entertaining, in part thanks to a brittle central performance from Erica Rivas.
  23. Natasha certainly proves that Khrzhanovsky is a risk-taker, and his actors even more so. But it’s a puzzling, inconclusive drama that doesn’t quite hold its own outside the parameters of the overall project.
  24. The film shows plenty of ambition and imagination delivered with considerable visual elegance, yet still ends up feeling somewhat airlessly conceptual.
  25. Tim Sutton’s idiosyncratic outsider romance contains moments of haunting oddness, but has a tendency to stab home its points and issues rather emphatically.
  26. The transporting power of art is a difficult thing to capture in cinema at the best of times, and this film struggles to do so, leaning heavily on a score which signposts the emotional content of each scene a little too emphatically.
  27. Shirley will find an eager audience at a cultural moment which increasingly values emotional expression. But many will find the film an over-rich brew that arguably stresses Jackson’s visionary inspiration at the expense of the craft, canniness and lucidity of a writer whose work was characterised by supreme control, even if her troubled life wasn’t.
  28. Whannell is so invested in unloading juicy surprises that this initially realistic story becomes increasingly preposterous, but Moss keeps the film anchored in plausibility; although sometimes just barely.
  29. Burdened with a drab quest narrative and populated by sweet but unmemorable characters, the studio’s 22nd feature still delivers glorious animation and the occasional tear-jerking sequence. But whether it’s the pedestrian design of this mythical realm or the simplistic story of squabbling brothers in search of their long-lost father, Onward never feels like much of an advancement.

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