Screen International's Scores

  • Movies
For 1,359 reviews, this publication has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 (T)error
Lowest review score: 10 The Emoji Movie
Score distribution:
1359 movie reviews
  1. So compellingly directed and acted that for much of the time we could almost be watching a documentary, Life and Nothing More is an involving, quietly moving piece that eschews conventional narrative shape to offer a multi-layered depiction of exactly what the title promises.
  2. Appropriately for a group known for its theatrical, crowd-pleasing tunes, this authorised-by-the-band biopic carries itself lightly, serving up familiar plot points with panache and a sense of humour, while at the same time investing in the story’s emotional through-line, building to a genuinely moving climax.
    • 71 Metascore
    • 70 Critic Score
    This laidback documentary portrait – directed by her son, Spanish actor Gustavo Salmerón – takes on a casual, boisterously wistful air, as the eccentric octogenarian reflects on her many years, while the extended clan buzzes excitedly around.
  3. Whether Hill’s debut as a writer-director is drawn entirely, or partly, from personal experience seems a moot point: there’s a sufficient clear-eyed skill to the project to elevate it out of the memoir arena and mark the actor out as a directing talent to watch.
  4. Though the film doesn’t scrounge too deeply, offbeat gags, ample emotion and parallels with human nature all go hand-in-hand.
  5. For all its empathy, Haroun’s latest can be dramatically stiff. The dialogue of his script often sounds like exegesis, with key events bursting into the story like dramatic illustrations of what seems foreordained. Yet this stolid narrative approach feels appropriate for a film that is as much testimony as it is drama.
  6. This sequel can’t compare to John Carpenter’s ingenious 1978 original, but director David Gordon Green delivers a crowd-pleasing chiller that doubles as an existential commentary on horror itself, both on the screen and in our lives.
  7. While the film recounts events three decades ago, it couldn’t be more relevant today.
  8. There’s a lot of love in ROMA, and, as is the way with love, it doesn’t always arrive in ways that are equal, or reciprocated, or even endure. His first film to be set in his homeland since Y Tu Mama Tambien in 2001 is Alfonso Cuarón’s most personal film, and his most honest. It may even be his best.
  9. A Faithful Man seems to be content playfully ruminating on how matters of the heart consume people — and how, sometimes, pursuing someone can be more fulfilling than actually possessing them.
  10. Distinctive 2D animation mixes graffiti-strewn, street-level realism with playful stylisation...for an aesthetically striking, instantly immersive and highly memorable end result.
  11. Despite the film’s inherent shock value, Lords Of Chaos still manages to successfully mine the explosive psychology of adolescent angst - even if the horror movie aesthetics occasionally threatens to overwhelm proceedings.
  12. Like his hungry symbiote latching onto Eddie, Fleischer cunningly fastens a malicious irreverence onto an otherwise lacklustre superhero movie. But the symbiosis doesn’t quite take.
  13. Try as he might, Rowan Atkinson’s slapstick pratfalls and rubbery expressions can’t stretch over the feature’s brazen attempt to rehash past glories.
  14. There’s ample amusement in the twists, betrayals and revelations that unspool. But Bad Times never really transcends the inherent limitations of its setup; it’s fun, but fleeting.
  15. Silva is a shrewd storyteller, uninterested in genre conventions or shock value; rather, he’s using that tension to tease out the anxieties of ordinary life and interactions.
  16. Israeli teacher-turned-filmmaker Matan Yair mines his own experiences for Scaffolding, bringing depth and poignancy to what could have otherwise been a familiar tale.
  17. Using the Great Hunger as a backdrop for a revenge western is an interesting way to exorcise old ghosts, but the end result drains pathos from the tragedy while muting The Proposition-style genre elements.
  18. It’s a playful inversion of the bigfoot legend, cautioning against unthinking compliance, championing curiosity and encouraging putting oneself in another’s shoes (or feet). Still, this all-ages affair is as blunt as it is busy; children will warm to the movie’s ceaseless energy, but parents might take longer to thaw.
  19. Despite a fantastical premise and some truly eye-popping effects, The House With A Clock In Its Walls suffers from post-Potter fatigue; there’s simply nothing here, visual or thematic, that hasn’t been done before.
  20. The screenplay seems a little thin, full of frayed threads which are never properly woven into the story.
  21. Shot with grace and sensitivity in black and white using available and natural light, What You Gonna Do is a visual treat, the easiest on the eye of all the director’s films to date. It is also, for all its unevenness, a stirring, committed portrait of black lives at a crossroads in the American South.
  22. Nimbly edited and directed with brio, this portrait of the legendary Sunday Times war correspondent Marie Colvin represents a sure-footed leap for director Matthew Heineman from documentary to factually-based drama.
  23. Slow, deliberate and often unexpectedly funny, Michael Tully’s (Ping Pong Summer) contribution to the ever-growing Irish horror catalogue is refreshingly original even if it lacks the jump scare pay off to its heavily-signposted creepiness.
  24. It may take a while to acclimate to the film’s off-kilter rhythms and strange happenings — not unlike the film’s protagonist, an outsider entering the forbidding Alaskan wilderness — but Saulnier has crafted his most mature effort to date, mixing his love for pulp fiction with a sombre examination of the inexplicable evil all around us.
  25. After the disappointing martial-monster mash-up of The Great Wall, this represents a return to the majesty and emotional finesse of Hero and House of Flying Daggers.
  26. There are far too many secrets and lies for one film, to the extent that what could have been a simmering tale of political complicity, greed and family disorder becomes just winds up feeling a bit silly.
  27. With its arch, Lynchian tropes and curiously mannered dialogue, which may be deliberately disengaged from reality or may just be out of tune with the voices of the characters, this film will not be for everyone.
  28. A film of considerable visual poetry and, at times, grandeur, Our Time is unmistakably the work of the ambitious, visionary director behind Battle In Heaven and Stellet Licht, but as a Bergmanesque drama of emotional anguish, the solemn, militantly downbeat Our Time often makes oppressive viewing and at times struggles to justify its nearly three-hour length.
  29. There’s a terrific film in here somewhere, with upmarket echoes of the exploitation thriller tradition of the 70s, but it gets lost in overstatement and a surfeit of plot reversals.

Top Trailers