The Observer (UK)'s Scores

For 130 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Widows
Lowest review score: 20 Patrick
Score distribution:
  1. Positive: 69 out of 130
  2. Negative: 3 out of 130
130 movie reviews
  1. At times, it feels as though we’re watching something we’re not supposed to be seeing, such is the detail of the emotional degradation on show; in this sense, it’s impossible not to read it as something of a nihilistic suicide note.
  2. Kechiche is quite brilliant at using stretches of time to create space for actors to let their characters breathe. It’s a sleight of hand that makes the intimacy on screen seem as though it’s unfolding organically, deployed to particularly dexterous effect in one sequence that takes place in a bar.
  3. While the eponymous star of this film is a fairly robust example of the breed, with eyeballs that appear to be securely wedged into its skull, there’s a frisson of anxiety whenever he’s on screen that undermines any attempts at comedy.
  4. The result is another mesmerising and wholly immersive experience from a film-maker whose love of the medium of cinema – and fierce compassion for Baldwin’s finely drawn characters – shines through every frame.
  5. The film feels thin, drab and ultimately unable to harness the collective power of its otherwise talented cast.
  6. I like Branagh’s eye for landscapes too; space is used elegantly, while widescreen canvases glow green and orange.
  7. The final set piece is a little protracted, but the jokes are mostly sharp and enjoyably self-referential and the songs still catchy (one track is titled Catchy Song).
  8. Tonally, Can You Ever Forgive Me? cuts an elegant path between humour and pathos.
  9. This picture is impressively designed but low on scares.
  10. There’s a new maturity both in the character and in the storytelling that makes this final film in the trilogy take wing.
  11. Ali beautifully captures the complexity of the man who juggles whiskey-soured, morning-after regret with a stubborn pride in his true self.
  12. It’s chilling and brilliant.
  13. For a movie about the undead, Japanese director Shin’ichirô Ueda’s horror comedy is certainly lively.
  14. It’s perfectly watchable but a film with this puttering pace is never going to get the blood racing.
  15. At the centre of it all is Kidman, bringing an impressive physicality to her performance that says more about Erin than words ever could. We learn so much from simply watching her walk, her gait combining an air of stroppiness with an overriding sense of being weighed down or crushed, like a packhorse hobbled by years of abuse. It’s a terrific turn that (like the rest of the movie) reminds us that awards often offer little indication of what’s really worth watching in cinemas.
  16. It’s an ambitious piece of writing, certainly, springy with ideas and information. But whereas the screenplay for The Big Short, which McKay co-wrote with Charles Randolph, deftly negotiated the dense, often very dry material, here there is a slightly frantic top note to McKay’s trademark wryly satirical tone.
  17. There are a few rascally moments, such as Jim Broadbent settingoff roman candles in his back garden, but mostly it’s a staid affair, laden with dragged-outscenes of the gang doing thejob.
  18. Mimicking the relapse-recovery cycle of addiction, the film’s timeline moves in unsatisfying narrative circles that stall the already shallow stakes.
  19. While Ronan is terrific, Robbie has arguably the more difficult role, conjuring an engaging portrait of someone whose position has made her “more man than woman”.
  20. The metaphors are messy (trauma makes people extraordinary?) and the pacing’s off, but it’s fun to see the individual films’ universes crossing over.
  21. Inevitably, some chapters work better than others but it’s an interesting, sideways look at how violence can serve as a catalyst rather than a climax and how it can change – and galvanise – a community.
  22. The film works as a collage of everyday moments that dovetail seamlessly between the sublime and the banal. Indeed in its most mesmerising scenes, the alchemy of duration and focus elevates these moments to something more profound.
  23. This stupid person’s idea of a clever movie is keen that we get the point, right down to providing an overbearing, hand-holding voiceover, which guides us through its multiple levels of plot contrivance as if the audience is a not particularly bright toddler.
  24. Particularly intriguing are the scenes in which Colette’s travails become the stuff of pantomime in the form of increasingly provocative theatrical productions, staged with a hint of carnivalesque chaos and evoking the spirit of Fellini.
  25. Puerile, imbecilic and imbued with the kind of casual 1970s sitcom homophobia that reads all male friendships as somehow suspect, this slack-jawed grossout comedy represents the nadir of Conan Doyle adaptations.
  26. RBG
    It’s not a showy piece of film-making, but then this indomitable 85-year-old is not an ostentatious person.
  27. There’s a thrilling charge to the film-making. Jostling, overlapping dialogue feels lived rather than written.
  28. Throughout, there’s an intriguing interplay between the performers’ real and fictional personae that lends emotional weight to the “stuff and nonsense” of their act.
  29. This sluggish US remake trades the generous charm of Sy’s affable screen presence for the niggling irritation of Kevin Hart. Everything that was already wrong with the original film – its sentimentality, its simplicity – is magnified.
  30. I struggle to remember the last time a non-documentary film proved so profoundly, soul-shakingly distressing. This is as it should be – anything less would be immoral and irresponsible.

Top Trailers