The Guardian's Scores

For 6,601 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:
6601 movie reviews
  1. I have to admit to being helplessly enchanted – or suckered – for the most part. There’s wit here and The Nutcracker will take you from zero to Christmas jumper in the opening sequence. What’s missing is the melancholy darkness of ETA Hoffmann’s story. Instead, schmaltz-merchant director Lasse Hallström tugs at the heartstrings and ladles on the syrup.
  2. It’s watchable enough but let down by a strange lack of interest in presenting Salander as anything but an engine to propel a plot. More female action heroes is by no means a bad thing but forcing Salander into Bond’s shoes feels like a misstep, her intellect and survivalism suited to far more interesting pursuits.
  3. Bohemian Rhapsody honours Mercury the showman but never really gets to Mercury the person.
  4. Toning down his usual act in a manner that suggests he’s finally read his reviews, Butler gives it handfuls of dramatic ballast, but this vessel has been badly compromised: any interest seeps out by the frame.
  5. The whole film is like an incomplete fragment, intriguing if frustrating.
  6. The danger of the whole thing collapsing under the weight of its own convolutedness is ever present. That it doesn’t is due to the power of Moore’s closing argument.
  7. Entirely riveting. It made me nostalgic for the BBC’s Young Scientists of the Year programme, which ran from 1966 to 1981. Can’t we revive it?
  8. This is an entirely ridiculous shaggy-dog story, a comedy salted with strangeness and seasoned with surreality.
  9. The problem lies not strictly with what’s on screen – which on its own, reduced terms is basically watchable and not unlikable – but in what’s been elided or forgotten about in the rush to duplicate the original’s surprise success: any sustained wit or personality.
  10. People will want to make their own minds up about the film, but for me there is something worryingly crass and naive in it.
  11. This is mass-market entertainment with a radical bent, a loudspeaker blast of a teen movie.
  12. The habitual calm and gentleness of Mahamat Saleh Haroun’s film-making here has a sharp edge and an overtly political point – as well as a flourish of violent destruction and despair that blindsided me.
  13. Been So Long has a sweet-natured openness. It balances the tough realities of life in the city with the buoyant possibilities of romance isn’t easy, and succeeds a lot of the time. Michaela Coel is tremendous in the leading role.
  14. An interesting and worthwhile drama.
  15. The conceit is nicely done, and the film’s unexpectedly heartfelt message about empathy and looking at the world through someone else’s eyes just about makes up for its bland animation, smart-arsed script and generic clappy-blah songs.
  16. If you’re looking for world building, you’re come to the right place. Yet its architects prove keener to flytip this secondhand imagery than they are to sort through it.
  17. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evans’s latest is a prime specimen.
  18. There are so many characters at play here and McQueen and Flynn’s script manages to let them all breathe, giving each actor small defining moments and given the exceptional cast involved, it makes for a richly rewarding experience.
  19. For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
  20. It’s an uncompromising midnight movie.
  21. The film is a respectful and valuable tribute.
  22. Columbus is an engrossing and unexpectedly passionate film, although much of the passion is displaced outwards into a feeling for space, for mass, for building materials. It is a static passion, but not inert.
  23. What an intelligent, emotionally grown-up film. More of this please.
  24. The film dies an agonising death long before it ever reaches Valhalla.
  25. An entertaining documentary. Maybe the full story of Studio 54 has yet to be told.
  26. The film is as intelligent and committed as you would expect from Greengrass, but basically pretty conventional, like a very classy TV movie.
  27. The script crackles with such bleak little jokes like this, relieving the tension in a work that could otherwise prove overwhelmingly depressing and borderline melodramatic.
  28. The film’s insidious crawl away from comedy into sweaty waking nightmare is arresting indeed. As is, finally, its insistence that some elements of American life remain too serious to joke about.
  29. It is a story seemingly meant to be funny but only fitfully successful in this mission, and way too pleased with its own brand of deadpan wisecracking.
  30. There are in fact one or two big gags, but no real sense of fun - not compared to something like Thor: Ragnarok. Director Ruben Fleischer, who made Zombieland and Gangster Squad, is uninspired. Venom is riddled with the poison of dullness.

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