For 21 reviews, this critic has graded:
  • 76% higher than the average critic
  • 0% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 13.5 points higher than other critics. (0-100 point scale)

Kim Hughes' Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Can You Ever Forgive Me?
Lowest review score: 25 Night School
Score distribution:
  1. Positive: 18 out of 21
  2. Negative: 2 out of 21
21 movie reviews
    • 61 Metascore
    • 75 Kim Hughes
    Destroyer is all about Kidman as tortured, haggard detective Erin Bell. A single look into those bleary, bloodshot eyes alerts us to the fact that this character has been through the wringer. Destroyer is a forensic study of how Bell got this way. The trick, I suppose, is making us care.
    • 46 Metascore
    • 67 Kim Hughes
    While entertaining, The Upside lacks the original film’s fizzy spark, the prickly charisma of its co-stars, and the tantalizingly sense that this incredible story — which is actually true — happened on a planet we would recognize as our own.
    • 60 Metascore
    • 83 Kim Hughes
    Let’s just say the film — scripted by Bader’s nephew Daniel Stiepelman with the Justice’s blessing — successfully splits the difference between capturing Ginsburg as a contemporary folk hero and as a fiercely ambitious intellectual competing for footing in an era when mixing a killer martini was the very height of wifely prestige. No one will mistake it for a documentary.
    • 61 Metascore
    • 100 Kim Hughes
    • 47 Metascore
    • 75 Kim Hughes
    If you are someone inclined to head to the theatre specifically to see the new Jennifer Lopez rom-com, you will get exactly the movie you hope for. And you will be happy.
    • 68 Metascore
    • 67 Kim Hughes
    In the end, all the sorrow and horror and anger and angst just seem pointless despite Corbet’s stated intention to juxtapose the meaningless against the tragic.
    • 60 Metascore
    • 75 Kim Hughes
    Saoirse Ronan as Mary and Margot Robbie as Elizabeth offer rich, committed performances and highly passable accents. There’s also a certain thrill in being transported to another very real-feeling world: inside elaborate stone mansions lit only by candles and furnished with stiff but fancy furniture. The costumes, jewelry and makeup, too, are fabulous. But a hard-to-pinpoint pall hangs over Mary Queen of Scots.
    • 49 Metascore
    • 100 Kim Hughes
    You will not see a more perfect and imperfect rock and roll biopic than Bohemian Rhapsody, which does many things extremely well, other things sort of average, and one thing flawlessly: capturing the immense charisma and panache of Queen singer Freddie Mercury. Jamie Foxx’s full-body inhabitation of Ray Charles just got some competition at the top.
    • 87 Metascore
    • 100 Kim Hughes
    McCarthy’s talent is towering and yet so few roles (excluding SNL appearances which feature dozens) really leverage her versatility. Can You Ever Forgive Me? gives platform to it all — funny but nihilistic, bleak, sardonic, knowing — with McCarthy disappearing and something else rising in her place.
    • 53 Metascore
    • 50 Kim Hughes
    There is absolutely nothing in Goosebumps 2: Haunted Halloween that you haven’t seen before, and seen done far, far better.
    • 43 Metascore
    • 25 Kim Hughes
    You’ve probably heard punchier dialog at dinner parties.
    • 66 Metascore
    • 100 Kim Hughes
    It’s hard to describe exactly how fun it is to watch the performances and archival footage generously offered in Bad Reputation. Suffice to say rock fans with a bellyful of beer will have a ball.
    • 74 Metascore
    • 100 Kim Hughes
    It’s hard to imagine anyone who enjoyed Radner’s performances in their lifetime not finding much to love about Love, Gilda… even as our hearts break a little at what might have been had she lived longer.
    • 67 Metascore
    • 100 Kim Hughes
    Feig has done a superb job of building a compelling story from angular bits that shouldn’t fit together but do while making pointed commentary on everything from gender roles to social media.
    • 59 Metascore
    • 67 Kim Hughes
    Here’s the thing: it’s hard to care about anyone presented on screen. Sorry but… they’re just not very nice. Nor are they fascinating criminal masterminds pulling off complex, game-changing capers.
    • 62 Metascore
    • 67 Kim Hughes
    Credit the towering talents of Emma Thompson and Stanley Tucci with redeeming The Children Act, a film oddly thin on story despite coming from the marvelous Ian McEwan, who adapted his own novel for the screen but somehow failed to capture the surge of the source material.
    • 28 Metascore
    • 25 Kim Hughes
    It’s awful by any metric you apply.
    • 71 Metascore
    • 91 Kim Hughes
    For a film where every single scene is rigidly contained within a screen — framed by an iPhone FaceTime chat, a laptop exchange, TV image, home movie or security camera surveillance — Searching has a surprising sense of momentum.
    • 75 Metascore
    • 75 Kim Hughes
    Crucially, Macdonald (see also The Last King of Scotland, Marley, State of Play) doesn’t stint on the train-wreck aspects of her career: the infamous Diane Sawyer interview, disastrous, flabby late-career performances, and yes, those tabloid images of a gaunt, wild-eyed, and clearly tripping Houston. Whether audiences feel greater insight into her dreams and demons as a result is somewhat less certain.
    • 50 Metascore
    • 75 Kim Hughes
    Despite committed performances all around, Boundaries stays firmly rooted in the meh. Much as we want to root for Laura, her constant whining about her unhappy childhood wins no empathy and drags things down.

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