Gregory Ellwood

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For 127 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 8 points higher than other critics. (0-100 point scale)

Gregory Ellwood's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Victoria
Lowest review score: 25 Wakefield
Score distribution:
  1. Positive: 86 out of 127
  2. Negative: 1 out of 127
127 movie reviews
    • 63 Metascore
    • 67 Gregory Ellwood
    For every scene that doesn’t work there is another that’s spellbinding. It’s gutsy and provocative and, frankly, that’s a compliment you can’t give many independent films these days.
    • 56 Metascore
    • 58 Gregory Ellwood
    A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.
    • 79 Metascore
    • 75 Gregory Ellwood
    There is drama in the source material for sure, but maybe a little more style could have helped elevate this moment in history for the masses.
    • 70 Metascore
    • 75 Gregory Ellwood
    The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.
    • 79 Metascore
    • 100 Gregory Ellwood
    The film team is so strong and the direction so fine that it’s simply hard to believe this is actually Talbot’s first full-length feature film. And to detail much more would spoil the genuine surprise of their many on-screen artistic contributions.
    • 64 Metascore
    • 83 Gregory Ellwood
    Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.
    • 75 Metascore
    • 58 Gregory Ellwood
    Alfre Woodard may have graced us with the performance of her career.
    • 77 Metascore
    • 58 Gregory Ellwood
    The initial inspiration was clearly there, but the execution simply falls short.
    • 75 Metascore
    • 75 Gregory Ellwood
    Where it surprises is in Bell’s fantastic performance and the fact it eventually stops becoming a laugh out loud comedy. It soon dives into much more of a heartwarming drama with a few random jokes thrown in.
    • 66 Metascore
    • 67 Gregory Ellwood
    Orley’s direction is fine, and the picture is well made for a low budget indie, but Davidson is all you’ll really remember when you leave the theater. And for many, that’ll be enough.
    • 68 Metascore
    • 75 Gregory Ellwood
    Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.
    • 61 Metascore
    • 50 Gregory Ellwood
    Apologies in advance, but for lack of a better descriptor the whole thing is a mess. It’s not even good enough to be a cult movie which is backhanded compliment anyway. But, hey, at least the actors tried.
    • 64 Metascore
    • 58 Gregory Ellwood
    There’s a line for an audience between conveying the true horror of what occurred and being excessive and Maras barely avoids the latter.
    • 21 Metascore
    • 50 Gregory Ellwood
    Fogelman clearly gets a thrill in constructing a tapestry full of one random tragedy after another (seriously, almost nothing good seems to happen to these people long term). And he also appears to love manipulating the audience’s emotions with these subsequent tragedies.
    • 81 Metascore
    • 75 Gregory Ellwood
    Despite the melodramatic ending, you leave the theater wanting to root for the film and its characters.
    • 54 Metascore
    • 75 Gregory Ellwood
    Greta is one of those thrillers where you see almost every twist coming, but the actors are so into it that you still get sucked in.
    • 59 Metascore
    • 58 Gregory Ellwood
    Demange, who earned glowing reviews for his debut “’71,” tries to guide all these plotlines and characters with a steady hand, but it often feels too unwieldy. There are simply too many storylines and threads competing with each other. The result is a movie that it feels like snippets of a life instead of a portrait of one.
    • 82 Metascore
    • 91 Gregory Ellwood
    Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.
    • 87 Metascore
    • 83 Gregory Ellwood
    Israel, as noted by her own writing, had a caustic wit that works with McCarthy’s comedic talents. She also brings a depth of emotion to Israel that comes to a head in a wonderfully composed scene with Grant at the end of the film.
    • 69 Metascore
    • 58 Gregory Ellwood
    Boy Erased has problems depicting the fear, intimidation and psychological trauma such programs can inflict on even the most willing of participants. But that’s likely because, at its core, the film isn’t really about the gay conversion experience.
    • 62 Metascore
    • 83 Gregory Ellwood
    When Kusuma, Kidman and Destroyer finally kick it into high gear it’s so, so worth the wait.
    • 61 Metascore
    • 83 Gregory Ellwood
    Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.
    • 67 Metascore
    • 58 Gregory Ellwood
    While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.
    • 80 Metascore
    • 83 Gregory Ellwood
    The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.
    • 78 Metascore
    • 83 Gregory Ellwood
    It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.
    • 72 Metascore
    • 91 Gregory Ellwood
    Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.
    • 37 Metascore
    • 42 Gregory Ellwood
    Despite youngster Aksoy-Etaix’s commendable performance, not only will you not believe, you also won’t care.
    • 72 Metascore
    • 42 Gregory Ellwood
    The problem with Dosunmu’s follow-up to the more compelling “Mother Of George” is that there is so little story — and what story there is moves at such a snail’s pace — that all you have to look at are Young’s impressive compositions and then you wait…and then wait some more.
    • 75 Metascore
    • 83 Gregory Ellwood
    Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.
    • 67 Metascore
    • 75 Gregory Ellwood
    Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

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