Screen International's Scores

  • Movies
For 1,416 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 22 July
Lowest review score: 10 The Emoji Movie
Score distribution:
1416 movie reviews
  1. Nia DaCosta’s heartland tale, rough around some edges, is a promising feature debut.
  2. Elegantly shot and fluidly edited, What Is Democracy? reveals Taylor’s sure instincts as she shapes the vast sprawl of often disparate, sometimes random-feeling material into a focused, thought-provoking essay that even leaves you feeling that there was so much more to say on the subject.
  3. Understated and confidently judged, it becomes a testimony to the old-fashioned virtues of social-realist storytelling rooted in ordinary lives and timely concerns.
  4. Despite the pyrotechnics of McAvoy’s performances and Willis’s grounded conviction, there’s just not enough here past the high concept of “what if real people were superheroes?”.
  5. Sequences depicting the Selma marches – the first of which led to violent police attacks that were seen on national TV and helped change the mood of the country – are fairly understated, when a more visceral approach might have given the film more emotional heft.
  6. Story strands feel half developed; pacing seems erratic.
  7. Even if The Hate U Give succumbs to cliché on occasion, it remains a surprisingly bold and thoughtful studio film about racism.
  8. In addition to the obviously authentic rapport between the quietly compelling Hill and impressive first-timer Perham, populating the feature’s frames with as many non-actors as possible also adds detail and texture.
  9. It’s the shocking disjunct between his religion and the rabid nationalism of his sermons, writings and declarations that powers Schroeder’s conventional but nevertheless effective long hard stare into the eyes of intolerance.
  10. The film’s coming-of-age story might remain familiar, its emotional arc may be broad, and its messages about self-belief and taking chances fall into the tried-and-tested camp, but DeBlois still builds an engaging, sincere and tender world brimming with depth and detail.
  11. A fascinating, sometimes frightening film which, like its subjects, is perhaps a little too ambitious for its own good.
  12. A tender, intelligent imagining of the playwright in retirement.
  13. This is a film that often feels more assembled than directed, crucially lacking the sheer verve that would enable it to transcend the influences that it proudly wears on its dusty sleeve.
  14. For a movie that’s supposed to be about a modern-day Geppetto bringing his dolls to life, the wooden Welcome to Marwen never makes it out of the toy box.
  15. Jackson’s film is more than a technical tribute: it’s a testament to the bravery and camaraderie of the soldiers, the memory of which has faded like the photographs he brings back to life. In a way, it helps arrest the fear that we are forgetting this futile obliteration of an entire generation.
  16. There’s anger but no insight in Vice, a glib portrait of Dick Cheney that preaches to the choir but becomes less persuasive as it goes along.
  17. Christopher Martin’s documentary adaptation of Conroy’s book is a powerful, humbling salute to a breed of fearless figures willing to risk their lives as they bear witness to history’s unfolding horrors.
  18. Last Letter is snugly nestled at the sugarcoated end of the director’s tonal spectrum with its tale of a family tragedy which revives a high school love triangle decades after it had seemingly ended in heartbreaking fashion.
  19. While this defiantly unflashy film may similarly feel out of step, long on mawkishness and short on dynamic, arresting moments, the purity of its gently mournful tone stays with you.
  20. This is a big-hearted song and dance spectacle for the entire family in which everyone laughs at the same jokes.
  21. A superhero movie with the scope of an epic but the spirit of a mischievous boy, Aquaman is a goofy, uneven adventure that proudly sticks to its loopy vision even if it doesn’t quite work.
  22. Director Travis Knight does his best to balance clattering spectacle with a modest girl-and-her-robot tale. He’s assisted mightily by Hailee Steinfeld, who infuses this uneven action film with significant soul.
  23. This latest in the ‘personal growth through gentle humiliation’ genre is amiable enough, but does suffer from the over-familiarity of themes and plot-points.
  24. Ardalan Esmaili and Soho Rezanejad give the film a real sense of compassion and depth, with their scenes together brimming with depth and a sense of shared history.
  25. The heady fusion of teenage romance, gothic fantasy and Mafia thriller becomes an immersive, atmospheric drama.
  26. Never Look Away is an often moving, thoughtful drama about the correlations between personal experience, politics and art.
  27. There is a mixture of styles in Dead In A Week that never quite gels.
  28. It may be a touch overlong – perhaps because everyone has to stop running to sing songs at regular intervals – and the emotional beats familiar, with moments of poignance, tragedy, gruesome comedy (a decapitated zombie in a snowman suit) and absurdity.
  29. A confident blend of comic-book élan and stirring sentiment, Spider-Man: Into The Spider-Verse finds fresh ways to tell the familiar story of everyone’s favourite web-slinger.
  30. A timely film, capable of sparking vigorous debate.

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