The Guardian's Scores

For 6,616 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 2.1 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:
6616 movie reviews
  1. It slips just a little too easily into the generic pigeonholing of first generation south Asian narratives, but rattles along with fun and energy.
  2. A syrupy drizzle of tasteful prettiness covers this cloying movie about the painter Pierre-Auguste Renoir (Michel Bouquet) and his film-maker son Jean Renoir (Vincent Rottiers).
  3. Gliding close to genre tropes but moving more comfortably as an uneasy drama about the alarming power of blind faith, The Other Lamb is an intriguing mood piece, strikingly made and well-performed if not quite as powerful as it could have been.
  4. The actors lend it a sick heft, and there are droll, region-specific footnotes...but one senses the sniggering film-makers playing variably funny games with our phobia of pedophiles, rather than having anything lasting to say about it.
  5. It is a vivid snapshot of a troubled private life at the apex of the US music scene.
  6. There’s more wit and energy this time around, and a genuinely sweet message about friendship. Even the fart joke (every kids’ movie must have at least one) was a cut above and had the adults giggling.
  7. It is a strange film in some ways, speckled with powerful, insightful moments but also with some strained acting, pulled punches and fudged attitudes, unable to decide if its heroines are compromised through having been loyal Fox staffers.
  8. Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
  9. There are smart moments of fear and subliminal shivers of disquiet, the dance sequences are good and of course Guadagnino could never be anything other than an intelligent film-maker. But this is a weirdly passionless film.
  10. It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving.
  11. Baby Done is funny; it’s sweet; it means something. Most of all it’s charming.
  12. As a comedy, it’s simply not funny and as a horror, it works better in pieces but not with the consistency a film set over one night would require.
  13. Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with.
  14. How ironic to realise that the greatest Mitt Romney campaign ad should arrive too late to save him.
  15. Born to be Blue is a curious mixture of fact and fiction, cliche and originality, style and emotion – it never truly soars but by throwing the ingredients of Baker’s life together and producing something different, it’s never less than intriguing.
  16. Mandico has made a wildly strange debut, striking enough to make you sit up and pay attention.
    • 64 Metascore
    • 70 Critic Score
    Like The Man Who Knew Too Much, The Fury yokes together a spy thriller and a domestic drama while also incorporating elements of SF and horror.
  17. It’s not a movie so much as 159-minute trailer for a film called Elvis – a relentless, frantically flashy montage, epic and yet negligible at the same time, with no variation of pace.
  18. The novelty of a malevolent presence in the wholesome, brightly lit world of a kids TV show can’t quite sustain an engaging 95-minute feature, Kelly not knowing where to take his admittedly attention-securing setup.
  19. The finale is more of a schmaltzy salute to the guide-dog ethos than intimate documentation of the new owners’ stories. The street training sequences, though – shot in swooping knee-high Steadicam – are thrilling; mini kerbside action movies.
  20. Phoenix is the key to it all: a performance as robust as the glass of burgundy he knocks back: preening, brooding, seething and triumphing.
  21. This is an unrepentantly cynical take on the hope-and-change promised to the US in 2008; this year's election race makes it look even bleaker, an icily confident black comedy of continued disillusion.
  22. This long film is blisteringly brilliant for the first hour or so. Then there are shark-jumping issues.
  23. It’s a breeze of a watch and with the bar for studio comedy being so very low right now, it’s at least mildly inventive and likably goofy, enough to warrant a cautious recommendation (premium rental price: no, next time you’re on a plane: sure).
  24. It’s a fascinating story but the resulting film insists on a kooky relatability that isn’t really there. A misfire.
  25. Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.
  26. Veteran French director Jean-Jacques Annaud serves up some high-octane film-making with this old-fashioned disaster movie, composed in a docu-realist style, about the catastrophic fire that engulfed Paris’s Notre Dame cathedral in 2019.
  27. Its fervency and its eroticism give the film its currency.
  28. Cheadle’s got the cred, and the period evocation is tremendous. It’s just that I’m not sure he has all that much to say
  29. Fury is a punchy, muscular action film, confidently put together and never anything other than watchable.

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