The Guardian's Scores

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For 6,576 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:
  1. Positive: 2,493 out of 6576
  2. Mixed: 3,764 out of 6576
  3. Negative: 319 out of 6576
6576 movie reviews
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  1. The Intern
    The bulk of The Intern is a morass of wackiness, a chain of sequences shot in a flat and predictable manner that range from tedious to idiotic.
  2. Mission to Lars
    The peripheral interviews with the extended Spicer family are as compelling as the central quest; this is a film with rare honesty and nuance in a field that frequently feels queasy.
  3. Meadowland
    What Meadowland refuses to do, to its great credit, is conform to expectations.
  4. Remember
    The inept script... makes for a perfect bedfellow with Egoyan’s flat TV movie direction and an overwrought score that sounds like a drunk impression of Bernard Herrmann.
  5. Rabin, the Last Day
    Gitai has chosen stylistic cinema over propaganda, and he is a director who regularly gets bogged down a bit in form.
  6. London Fields
    Novelistic, rich and awfully silly, London Fields – like Ben Wheatley’s take on High Rise - is a long-awaited adaptation of a popular and gloomily prophetic book, that seems unnecessary.
  7. Lolo
    This romp is just embarrassing.
  8. Mr. Right
    Mr Right is Grosse Pointe Blank meets Dexter. Liman meets Tarantino. Derivative idea meets sloppy execution.
  9. Sunset Song
    It’s all fairly indulgent. But Sunset Song also has a viciousness that stops it falling too deep into a slumber
  10. The Lady in the Van
    Smith’s performance, honed from the previous stage and radio versions, is terrifically good.
  11. Into the Forest
    Patricia Rozema’s drama doesn’t burrow deep into its end of world scenario.
  12. In Jackson Heights
    It’s an engaging portrait - film-making which works from the ground up.
  13. Hardcore Henry
    Naishuller’s technique is one that could be well served as a shorter gimmick; a solitary action scene in a larger film. Hardcore is unrelenting and unforgiving in its commitment to be loud, fast, destructive and gross.
  14. Francofonia
    Francofonia is a fascinating essay and meditation on art, history and humanity’s idea of itself.
  15. The Forbidden Room
    Maddin’s zeal for old cameras and stocks is matched only by his revelry in evoking an entire genre with a single image. The film’s apogee literally opens up The Book of Climax in a sequence of pure, knowing cinematic joy. Film-lovers, this ludicrous movie is for you.
  16. Evolution
    It’s a quiet, deliberately paced film, but exquisitely shot, with nuanced performances and visual invention.
  17. Born to be Blue
    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.
  18. Stonewall
    An outrageously misjudged drama that flirts with the story of the birth of the gay rights movement.
  19. The Man Who Saved the World
    Sergey Shnyryov is superb as Petrov’s fictional counterpart, and the present and the past are smoothly sutured together by deft editing and an insistently mournful string score, although it’s sometimes a bit repetitive.
  20. Miss You Already
    Collette is a potent, unsentimental presence and Hardwicke and Banks know how to connect with the audience.
  21. Maggie's Plan
    It’s unpredictable and a bit of a mess. And that’s what makes Maggie’s Plan such a delight.
  22. Trumbo
    [Jay Roach] wants the film to be fun, while the story is serious. It’s a good idea and an admirable intention. But it does suffer the odd wobble.
  23. Truth
    As high-class cheese goes, Truth slips down fine. It’s a noisy, one-note rally for the converted that gets your pulse racing even if you’re rolling your eyes.
  24. The Visit
    This tardy rehash of fairytale tropes finds sometime genre innovator M Night Shyamalan clinging in abject desperation to the found-footage movement’s careworn coattails.
    • 82 Metascore
    • 60 Critic Score
    Rams
    Rams is as curiously captivating as the bleak landscape in which the two protagonists site themselves.
  26. High-Rise
    Wheatley has made High Rise his story, instead of Ballard’s. That’s fine – but, unfortunately, it’s a less interesting take.
  27. He Named Me Malala
    Guggenheim largely dodges lodging her story within a greater political context; a choice, but a shame, for when he does, the movie gains tension.
  28. Freeheld
    A film that should feel urgent and of its time, but instead is rendered cliched and dull by Sollet’s amateurish handling of the material.
  29. The Program
    It’s a fluid and nippy telling of a tale that still seems strangely urgent.
  30. The Dressmaker
    The film is a tonally uneven, genre-shifting hurricane of a thing, wildly careering off the rails and smashing into everything in its view.
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