The Guardian's Scores

For 6,556 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:
6556 movie reviews
  1. It’s an elegant directorial performance from Herzi.
  2. It is a very disturbing parable of the insidious micro-processes of tyranny.
  3. The two women’s scenes together give the film its most interesting moments.
  4. To knock its sentimental failings would be like kicking a puppy – and there are actual puppies in the film just to ensure it snags the heartstrings. Resistance is futile.
  5. All told, there’s hardly a single smile in Lilo & Stitch ’25 not generated through the stolen valor of the earlier screenplay, and hardly a poignant moment that’s not more admirably raw in the G-rated version.
  6. This movie, visually and dramatically superb in every way, moves with unhurried confidence across the screen, pausing to savour every bizarre bit of comedy or erotic byway, or note of pathos, on its circuitous path to the violent finale.
  7. It’s high-minded, valuable work.
  8. The madly, bafflingly overwrought and humourless storytelling can’t overcome the fact that everything here is frankly unpersuasive and tedious. Every line, every scene, has the emoting dial turned up to 11 and yet feels redundant.
  9. This is a big, muscular picture which aspires to the crowd-pleasing athleticism of Spike Lee’s sports icons; it’s very enjoyable and there’s a great turn from Washington.
  10. It is engaging and sympathetically acted and layered with genuinely funny moments, mysterious and hallucinatory setpiece sequences, and is challengingly incorrect thoughts about the haves who fear the contagious risk of coming into contact with the have-nots.
  11. A deeply humane and emotionally literate piece of work.
  12. The house is just there and the characters waft through it. Gray admirers might prefer Gray Matters, Marco Antonio Orsini’s documentary on the subject.
  13. It is always entertaining, and delivered with the usual conviction and force but with less of the romantic extravagance than we’ve seen before, less of the childlike loneliness that has been detectable in his greatest movies.
  14. None of this, arguably, is inaccurate. But it’s all very smooth: a slick Steadicam ride through a historic, tumultuous moment.
  15. It hardly needs to be said that subtlety is not really among this film’s attributes - but it is fierce, angry, engaged, and intensely, sensually alert to every detail of its own pleasure and pain.
  16. It’s a confident, often engaging mix of music and no-frills theatrical performance, with Bono often coming across like some forgotten character that Samuel Beckett created but then suppressed due to undue levels of rock’n’roll pizzazz.
  17. It borders on cliche a little, but there is compassion and storytelling ambition here.
  18. There is no accumulation of drama or tension or intellectual revelation and the setpiece shootout is ultimately valueless. What exactly is it saying that we didn’t know already? The wait for Aster to recover his directorial form goes on.
  19. It is dense with fear and sadness.
  20. Tomorrow is too murky, meandering and self-indulgent an inside joke for audiences to remember it for more than its smirking moments. In time the Weeknd may come to regret this too, a missed opportunity.
  21. With a blend of archive footage and re-enactments the film-makers skilfully recreate the urgency, passion and energy of their protest.
  22. This is a really exhilarating, disturbing picture which foregrounds excellent writing and performances.
  23. It is a wildly silly, wildly entertaining adventure which periodically gives us a greatest-hits flashback montage of the other seven films in the M:I canon - but we still get a brand new, box-fresh Tom-sprinting-along-the-street scene, without which it wouldn’t be M:I.
  24. Where Bloodlines excels is in the clever and often diabolical storytelling craft and visuals. There’s a decadence in the film-making that isn’t at odds with the campy nature of Final Destination but instead realizing its full potential.
  25. It is very intelligent and humane, and what a great performance from Collias.
  26. Nonnas has a straightforward sincerity that makes it go down easily.
  27. Though it’s positioned in the early days of the summer movie reason, Shadow Force winds up as an unintentional advertisement for staying home.
  28. The big reveal, while illogically daft, does have a certain on-paper thematic novelty to it but it’s cursedly both over-explained and hard-to-really-understand, a “why are you doing this?” response that rambles into nonsense.
  29. Actor turned writer-director Jillian Bell’s naked, and sometimes literally naked, attempt to craft a new rewatchable comfort food favourite with notes of both sweet and salt is charming when it works but distractingly effortful when it doesn’t.
  30. Andres Veiel’s sombre documentary tells the gripping, incrementally nauseating story of Helene “Leni” Riefenstahl, the brilliant and pioneering German film-maker of the 20th century who isn’t getting her name on a Girls on Tops T-shirt any time soon.

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