The Guardian's Scores

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For 6,608 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:
  1. Positive: 2,502 out of 6608
  2. Mixed: 3,786 out of 6608
  3. Negative: 320 out of 6608
6608 movie reviews
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  1. To Rome with Love
    Baldwin has some brilliant moments as he icily dismisses Monica's posturing: his final closeup – heavy-lidded, undeceived – is fascinating and rather chilling.
  2. Now You See Me
    Overcooked, overcomplicated and underinteresting, this heist caper turns into a mess.
  3. RED 2
    Like the first one, it's played for laughs in-between bouts of mayhem; most of the gags are off-target, though Mirren's Nancy Mitfordesque assassin gets a pretty good kill ratio.
    • 58 Metascore
    • 40 Critic Score
    Lawless
    Star-studded and violent yet empty as a broken whisky bottle.
  5. Pixels
    Pixels is a casually sexist, awkwardly structured, bro-centric comedy, starring some of Sandler’s buddies. The only difference this time is that state-of-the-art CGI has been added to the mix.
  6. We Have a Pope
    Nanni Moretti's new film is occasionally amusing, but is also a frustrating and directionless experience.
  7. A Good Day to Die Hard
    I don't think it knows where it's going. I'm not even sure it cares.
  8. Sinister
    The snuff-porn aesthetic might suggest a realist drama, but a supernatural dimension is brought into play, making the plot directionless. There isn't an ounce of ingenuity in the way the movie is concluded, but some generic expertise in the way it is put together.
  9. The Wolverine
    The flat hammerblows of The Wolverine bear little relation to the zing and pop of Matthew Vaughn's colourful treatment. Inconsistency is inevitable in a world that's constantly being dug up and done over, but it leaves us no time to fall in love with anything being flung at us.
  10. The Samaritan
    A clotted, knotted, twisty noir that is, unfortunately, short on the required atmosphere.
  11. Intruders
    This is really very humdrum stuff compared to the electric strangeness of "Intact."
  12. Beautiful Creatures
    The plot is wildly silly and shot full of holes, maundering endlessly on its slow trawl towards the climax. But the cast at least play it like they mean it, and keep it honest for a spell.
  13. Iron Sky
    It's not terrible, by any means: just not nearly as funny or cruel as its killer premise suggests.
  14. Elles
    Binoche rises above the lubricious material by giving a thoroughly detailed and committed performance as the journalist.
  15. Headhunters
    The film doesn't merit chinstroking: it's stuffed with Troma-style riffs around schlock, gore and human effluvia, bookended by Shallow Grave-like sections full of cynical machinations. The parts barely relate, never mind work together.
  16. End of Watch
    Despite the violence and procedural detail, this is about as gritty as Dixon of Dock Green.
  17. Polisse
    A drama with interesting moments, but also some false notes and a wildly bizarre ending.
  18. Bel Ami
    Robert Pattinson has to do an awful lot of hollow-eyed smouldering in this hammily enunciated French period drama, taken from the 1885 novel by Guy de Maupassant.
  19. 300: Rise of an Empire
    It really is pretty dull, though, with the same moments of campy silliness: the same frowning gym bunnies with the same digitally enhanced abs.
  20. The Good Dinosaur
    The Good Dinosaur looks great, of course, but it’s not in the league we’ve come to expect.
  21. The Perks of Being a Wallflower
    The Perks of Being a Wallflower is a perfect fit for its target audience – the Harry Potter kids who are following Emma Watson through her baby steps towards the stronger stuff.
  22. Dark Horse
    There is little in the film's pitch-black interior that wasn't tackled better – with more bite, wit and abandon – in "Happiness," "Welcome to the Dollhouse," or "Storytelling."
  23. The Pact
    Nicholas McCarthy's The Pact is a horror film developed from a short, and unfortunately it splits apart while being stretched out to feature length.
  24. Cloud Atlas
    Tykwer and the Wachowskis' other twist on this karmic hokum - to cast each of their actors in multiple roles across the stories, regardless of age or race - is less successful.
  25. Starbuck
    Almost all the charm of the real story is lost through the contrivances and overacting.
  26. Runner Runner
    This is a lazy, trashy film that barely goes through the motions.
  27. The Equalizer
    Denzel is so cool, so made of pure nails he can make even the most preposterous action scene feel thrilling. But Denzel's strength is also his weakness.
  28. Mama
    It has been converted into a proficient, machine-tooled horror flick, stuffed full of shocks and buttressed with back-story. Mama got so flabby the second time around.
  29. About Time
    Curtis's heart is in the right place. In fact, it's all over the place – front and centre and backlighting the whole thing with a benevolent glow. But it is hard not to watch this, read the news that it will probably be his last as a director, and look to the future.
  30. 2 Guns
    There is a fair amount of not sufficiently witty or lovable banter, and Paula Patton gets to play Katharine Ross to their Butch and Sundance. She really has nothing to do except pose fetchingly in her underwear. Not much firepower.
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