For 84 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

Benjamin Lee's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Moonlight
Lowest review score: 20 Fifty Shades Freed
Score distribution:
  1. Positive: 21 out of 84
  2. Negative: 7 out of 84
84 movie reviews
    • 52 Metascore
    • 40 Benjamin Lee
    It’s an undemanding watch, easily digestible while on in the background, but even easier to forget.
    • 53 Metascore
    • 60 Benjamin Lee
    Even if some of the late-stage plotting seems sloppy and increasingly preposterous, there’s a callousness to the brutal last act that, together with the far patchier, yet similarly hard-edged First Purge, feels like a definite product of the time we’re in, as war on terror-era torture porn did in the mid-2000s.
    • 51 Metascore
    • 60 Benjamin Lee
    This is stupid but it’s also mostly entertaining, thanks to Johnson and a plot that moves fast enough to retain our attention yet without enough, ahem, the originality to ensure it lingers in our minds once the fire has been extinguished.
    • 54 Metascore
    • 40 Benjamin Lee
    Clumsy attempts at comedy are weaved in to try and alleviate the remarkable grimness but all it really does it add to an uneven tone.
    • 58 Metascore
    • 60 Benjamin Lee
    For all of its faults, there’s still plenty here to praise, the result of so much being thrown at the wall is that some of it will stick. Pearce has a sharp creative flair and a head full of ideas but he feels somewhat hemmed in by the constraints of a short running time and a high profile release date.
    • 61 Metascore
    • 40 Benjamin Lee
    The lifeless direction, the unrefined script, the underwhelming cameos, the distinct lack of fizz – there’s a slapdash nature to the assembly of Ocean’s 8 that makes it feel like the result of a rushed, often careless process. It’s made watchable thanks to the cast but star power alone cannot mask creative inadequacy. Stealing a diamond necklace is bad but wasting an opportunity like this is unforgivable.
    • 56 Metascore
    • 60 Benjamin Lee
    The three leads are so strong that one wishes Netflix had granted them a whole series to live in, their everyday lives worthy of a deeper dive. Ibiza is a fun, far-fetched frippery but I’d rather see what happened to them if they’d stayed at home.
    • 46 Metascore
    • 20 Benjamin Lee
    Life of the Party’s predictable and lethargic box-ticking of scenes (accidentally getting high – check; dance off – check), gives it the unremarkable stench of something you’ve half-watched on cable before.
    • 58 Metascore
    • 40 Benjamin Lee
    Watching a couple bicker about the specifics of their relationship can be illuminating when done right, but here it becomes a chore, the problems they encounter feeling contrived and silly.
    • 47 Metascore
    • 40 Benjamin Lee
    Even though the script might let her down, Schumer does still manage to sell a smattering of the comic moments (the opening scene has a promising knockabout tone), but when she reaches the more dramatic elements, she struggles to convince.
    • 35 Metascore
    • 60 Benjamin Lee
    The director, Jeff Wadlow, has a puppyish eagerness to impress, shock and entertain and as silly as the film might get, it’s never dull.
    • 44 Metascore
    • 60 Benjamin Lee
    It might drift out of the memory just as easily as it drifted in, but there’s a goofy likability to Pacific Rim: Uprising, a primal thrill to be had, and a confident slickness behind it that means, despite a nearly two-hour running time, it doesn’t outstay its welcome.
    • 38 Metascore
    • 40 Benjamin Lee
    There’s something to be admired about a film that can gracefully defy simple genre categorization but Submergence feels like a clumsy melange, a confused adaptation made by people who don’t seem quite sure what they have on their hands.
    • 48 Metascore
    • 40 Benjamin Lee
    The cast all perform adequately, with Hendricks in particular proving effective, but it’s just difficult to really invest in what happens to any of them. Before long, characters are all making stock horror movie decisions, and there’s no amount of effective craftsmanship that can sell stupidity.
    • 49 Metascore
    • 60 Benjamin Lee
    It’s a film so light that it barely exists but Huppert makes it worth remembering.
    • 72 Metascore
    • 80 Benjamin Lee
    It’s a hugely charming crowd pleaser, an infectiously entertaining coming of age film that feels primed to attract and retain a loyal eager-to-rewatch audience. There’s a wealth of snappy dialogue and what feels like an attentive grasp of teenage life.
    • 79 Metascore
    • 80 Benjamin Lee
    Annihilation is more than mere visuals and it will shock, fascinate and haunt whatever screen it’s watched on.
    • 66 Metascore
    • 60 Benjamin Lee
    The Jason Bateman comedy model hasn’t quite been radically altered in Game Night but it’s one of his more entertaining outings. Just don’t count on remembering much of it once the night is over.
    • 53 Metascore
    • 60 Benjamin Lee
    It doesn’t entirely work, but there’s something about its full-throttle nastiness that lingers, and it’s refreshing to see something that exists in the studio system that possesses so many queasily perverse elements. It’s just not quite as seductive as it thinks it is.
    • 31 Metascore
    • 20 Benjamin Lee
    As usual it’s left entirely up to the beleaguered Johnson to make any of it even remotely watchable. She remains a compelling presence, trying her darnedest with lifeless words, but, again, she’s stranded by the energy-sucking vortex of nothingness that is Jamie Dornan. He’s better than this...but he knows it and his boredom is lazily apparent throughout.
    • 37 Metascore
    • 40 Benjamin Lee
    The Cloverfield Paradox is an unholy mess...As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom. The eerie early scenes fade into standard space horror panic and given how crowded that particular subgenre is, The Cloverfield Paradox emerges as a pale imitation.
    • 81 Metascore
    • 80 Benjamin Lee
    Coco is a rousing, affecting, fun and much-needed return to form after underwhelming Finding Nemo and Cars sequels and will help to ensure that Pixar’s legacy remains intact.
    • 45 Metascore
    • 40 Benjamin Lee
    It’s by no means the worst of Allen’s later films (Cassandra’s Dream remains unrivaled in that department) and the flashes of brilliance from Winslet and stunning visuals do lift it but there’s an overwhelming, existential pointlessness to it all.
    • 57 Metascore
    • 40 Benjamin Lee
    It’s Groundhog Day meets Scream, although lacking the first film’s novelty and the latter’s postmodern smarts.
    • 65 Metascore
    • 40 Benjamin Lee
    We don’t fully buy into the connection between these men and as a result, we care little about what happens to them. Nothing here feels lived in or real, it’s mere construct.
    • 31 Metascore
    • 40 Benjamin Lee
    It’s slickly made but shoddily scripted, with sub-reality TV dialogue...and a range of unengaged, soapy performances. There is some fun to be had from the loud and nasty death scenes though, which allow us the pleasure of seeing self-absorbed Facebook addicts get gruesomely murdered.
    • 55 Metascore
    • 60 Benjamin Lee
    There’s a lingering sense of familiarity that persists and what felt fresh in the first film, and tweaked in The Lego Batman Movie, is at risk of feeling tired here.
    • 76 Metascore
    • 80 Benjamin Lee
    Stronger is a film filled with warmth and humanity, but one that doesn’t sugarcoat the reality that comes with it.
    • 58 Metascore
    • 80 Benjamin Lee
    Even in the film’s less successful moments, I admired the loose shagginess of it all.
    • 48 Metascore
    • 60 Benjamin Lee
    As an unpretentious and unashamedly mainstream romantic adventure, it’s a solidly entertaining diversion, old-fashioned in its no-frills brand of storytelling and direction.

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