Screen International's Scores

  • Movies
For 1,386 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Burning
Lowest review score: 10 The Emoji Movie
Score distribution:
1386 movie reviews
  1. Grimly upbeat rather than merry, and relentless rather than frenetic, the film’s gritty zest is splashed across the screen with momentum, but also to the point of overuse. It serves a late heist set piece well, yet wears thin in a sea of training, thieving and fighting montages elsewhere.
  2. Contradictory impulses dominate Creed II. This sequel to the 2015 smash hit is both emotional and formulaic, nuanced and shameless, determined to set its own course while slavishly loyal to franchise strictures.
  3. The feature debut of Vladimir De Fontenay is an accomplished piece with a committed central performance from Imogen Poots, but the emotional impact is lessened by an air of predictability and the sense that every bit of fresh hope is destined to end in disappointment.
  4. Saoirse Ronan and Margot Robbie are both superb in muted performances and, while the film’s palace intrigue gets a bit dense, the story never loses sight of its deep compassion for these characters and their shared plight of being held hostage by conniving, belittling, power-hungry men determined to usurp their authority.
  5. As predictable as their tale may be, Chaplin, Tena and Verdaguer serve their characters well, with the former and latter particularly impressing with the material.
  6. The wide ranging perspectives of painters, collectors, dealers and gallery owners makes for a thought-provoking and unexpectedly moving film.
  7. This is a film which fizzes with originality, one which works both as a pacey thriller and a playfully surreal intellectual exercise.
  8. The sequel to 2012’s Wreck-It Ralph boasts a big heart and some clever comedic set pieces, and yet this follow-up fails to match the original’s balance of savvy pop-culture nostalgia and genuine emotional stakes. Ralph and Vanellope are still fun company, but their latest adventure is full of glitches.
  9. Outside of its admiration for mothers, Bier’s film seems to only vaguely hint at other ephemeral ideas, and as a result Bird Box is a curiously hollow experience.
  10. It’s raw religion, and it’s a treasure.
  11. The storytelling in Sex is ho-hum, but the sincerity of the undertaking — and the issues at the film’s centre — make it hard to resist, no matter what objections might be raised.
  12. There’s real magic here, and nothing fake about the emotions which guide it.
  13. The debut feature from actress Lisa Brühlmann, Blue My Mind brings a surreal spin to the coming of age story, and is an effective showcase for a striking cast of young performers.
  14. Featuring uncanny and hugely personable performances by Steve Coogan as Stan Laurel, and John C. Reilly as Oliver Hardy, and a smart script by Jeff Pope (Coogan’s co-writer on Philomena) that delivers laughs from both familiar and unexpected quarters, this is a fond, frequently very funny homage to an act that has lost none of its genius.
  15. The filmmakers preserve Seuss’s narrative beats but strain to replicate his whimsical spirit.
  16. The feature debut from music promo and commercials director Jaron Albertin is, as you would expect, a stylistically assured piece of work. But this tale of a father with mental health issues who finds himself suddenly responsible for a son he has never met is also unexpectedly restrained dramatically.
  17. What it lacks in novelty, subtlety or character, it partially makes up in sheer abandon. This is a big, loud, violent, gleefully gory sledgehammer of a film with, crucially, a careful tongue in cheek.
  18. Lacking the freshness of the original trilogy or the meticulous, insidious tone of Fincher’s film, Spider’s Web mostly feels like a holding action to ensure that more sequels can be made in the future. That timidity flies in the face of this series’ inherent edginess.
  19. The result is that rare documentary that works equally effectively on the head and the heart, only making Murad’s heroism more remarkable in the process.
  20. Both overstuffed and underwhelming, Disney’s spectacle-driven reimagining of the beloved holiday staple tries to serve many masters, and the result is a family film straining to be both timeless and timely, simultaneously old-fashioned yet cheekily irreverent.
  21. Crucially, underneath the music and the soft-focus romance Been So Long makes some poignant observations about community, family and the importance of connection.
  22. Margarethe Von Trotta’s many personal connections to Ingmar Bergman lend a fresh, distinctive flavour to Searching For Ingmar Bergman. The documentary explores and champions Bergman’s artistic legacy but also captures a very human portrait of a complex man.
  23. Veteran Danish director August (1987’s Pelle The Conquerer) has presented a well-meaning, flat film which also feels somewhat unfinished - although there’s not much in here to suggest that a further reworking is merited.
  24. The latest anime from Mamoru Hosoda (The Girl Who Leapt Through Time) is a beguilingly sweet-natured little gem. The film balances spiralling flights of fancy with glinting observations on parenting and family dynamics.
  25. Hunter Killer conjures up whiffs of entertainment value from its shameless but spirited derivativeness.
  26. 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.
  27. 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.
  28. 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.
  29. Though the film doesn’t scrounge too deeply, offbeat gags, ample emotion and parallels with human nature all go hand-in-hand.

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