The Guardian's Scores

For 6,577 reviews, this publication has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 London Road
Lowest review score: 0 Melania
Score distribution:
6577 movie reviews
    • 88 Metascore
    • 90 Critic Score
    The Conversation is an immaculate thriller, a study in paranoia and loneliness, long in gestation, partly inspired by Antonioni's Blow-Up, and released as the Watergate scandal was unfolding.
  1. There is such artistry and audacity in this new film by the 30-year-old Chinese director Bi Gan. Long Day’s Journey Into Night, a hallucinatory experience whose sinuous camera movements take you on a long journey into memory and fear and a night full of dreams.
    • 88 Metascore
    • 90 Critic Score
    Olivier has made a superbly dramatic film, in which by variations of tempo, by superb acting on the part of the awe-inspiring cast, and by a wonderful knack of indicating the side-shows while maintaining the main theme of Richard's own drama, he has cheated the clock. His long film never, or hardly ever, seems long.
    • 88 Metascore
    • 90 Critic Score
    Wild Strawberries, which, while scarcely a bag of laughs, has a compassionate view of life that best illustrates the more optimistic side of Bergman's puzzled humanity.
  2. It is an agonisingly tough watch, crackling with tension.
  3. Ingmar Bergman's dark masterpiece effortlessly sees off the revisionists and the satirists; it is a radical work of art that reaches back to scripture, to Cervantes and to Shakespeare to create a new dramatic idiom of its own.
  4. Pure evil is all around in this unnervingly subtle, sophisticated movie; an eerie oppression in the air.
  5. The film is pitched with insouciant ease and a lightness of touch at both children and adults without any self-conscious shifts in irony or tone: it’s humour with the citrus tang of top-quality thick-cut marmalade.
  6. Despite the opaque story line, their film is a glittering, perfectly honed artifice; but what pushes it into the Coen premier league is the sense that, as with Fargo, there's something very personal going on here.
  7. The Death Of Stalin is superbly cast, and acted with icy and ruthless force by an A-list lineup. There are no weak links. Each has a plum role; each squeezes every gorgeous horrible drop.
    • 88 Metascore
    • 80 Critic Score
    Strangers is full of marvellous set pieces and uses the architecture of Washington to dramatic effect.
  8. This film, so apparently forbidding and opaque the way many Ceylan films initially are, has in fact something engrossing in its garrulous and wide-ranging quality: a literary quality in fact.
  9. Hard Truths is a deeply sober, sombre, compassionate drama about a black British family, with flashes of fun and happiness that are emollient if not exactly redemptive.
  10. Putting aside the worthiness of its politics, this is also a crackling, tense thriller, graced with beautifully measured performances, that explores with wisdom and sorrow the best and worst in human nature.
  11. Those familiar with McDonagh’s work will be unsurprised to learn that Three Billboards is a bold and showboating affair, robustly drawn and richly written; a violent carnival of small-town American life. Yet it has a big, beating heart, even a rough-edged compassion for its brawling inhabitants.
  12. Sadly, the problems affecting the Raineys, the African American family whose north Philadelphia home accommodates this heartening documentary, are all too familiar: poverty, drugs, gun violence.
  13. It remains breathtakingly good. There is a miraculous, unforced ease and naturalness in the acting and direction; it is classic movie storytelling in the service of important themes.
  14. Things to Come is a smart, earnest undertaking: an exploration of the insecurity that can hit any of us, at any age, when we start to question the life we’ve built.
  15. With this film, Anderson has built a thoroughly likable vision of a prewar Europe – no more real, perhaps, than the kind of Viennese light-operetta that sustained much of 1930s Hollywood – but a distinctive, attractive proposition all the same. It's a nimblefooted, witty piece, but one also imbued with a premonitory sadness at the coming conflagration.
  16. At its best, writer/director Clint Bentley and co-writer Greg Kwedar have crafted a gorgeous and poignant film of quiet, bruised life in a fragile place, anchored by a magnificently sensitive and restrained performance from the still-underrated Edgerton.
  17. In fits and starts, this is a stunning picture. At its best, Winter Sleep shows Ceylan to be as psychologically rigorous, in his way, as Ingmar Bergman before him.
  18. For one star to get an award, a handful of defeated nominees have to swallow their pain, as the spotlight moves away from them. For one star to deliver the shock of the new, another one has to receive the shock of the old. A Star Is Born turns that transaction into a love story.
  19. Citizenfour is a gripping record of how our rulers are addicted to gaining more and more power and control over us – if we let them.
    • 88 Metascore
    • 100 Critic Score
    It keeps all the power of a live performance while simultaneously adding a filmic pizzazz including some breathtaking aerial shots. There is extraordinary direction – again under Kail – so that the cameras capture the mise en scène of theatre without losing any of the closeup intimacy of film.
  20. It’s a difficult, often quite brutal, viewing experience, as it needs to be given the subject matter, not only because of the fractured storytelling but because of the devastating lead performance from Hopkins.
  21. Foxtrot is a movie from Israeli writer-director Samuel Maoz that is structurally fascinating yet also structurally flawed: its accumulations of ambiguity and mystery are jettisoned by a whimsical final reveal.
  22. Filmed with a luminous brilliance by cinematographer Freddie Francis, The Innocents is the apotheosis of old-school Brit spookiness.
  23. This is fiercely powerful storytelling, simple and muscular in one way, but also conveying nuance and sophistication in its depiction of character.
  24. It’s a movie that will live with me for a long time.
  25. McDormand is perfect in the role.

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