The Guardian's Scores

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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:
  1. Positive: 2,500 out of 6601
  2. Mixed: 3,782 out of 6601
  3. Negative: 319 out of 6601
6601 movie reviews
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  1. Populaire
    You'll need to have a very sweet tooth for this, and it makes light of those difficult sexual politics that Mad Men attacked with such fierce satire.
  2. Black Nativity
    Beneath middling songs – walloped out in the artless, post-Cowell manner – there's something faintly touching about its vision of broken homes.
  3. Stitches
    There are some gruesomely ingenious moments in this gleefully yucky horror-comedy from director Conor McMahon, starring the standup comic Ross Noble. But I have to say it somehow wasn't funny or scary enough – though I do have to admit it is always more than revolting enough.
  4. Mariachi Gringo
    Tom Gustafson's film proves genial to a fault.
  5. Something in the Air
    This is a great-looking movie with a sure sense of time and place; it is obviously a personal, and in fact, autobiographical work about Assayas's own youth. But for all its flair, I came away dissatisfied at its colossal self-indulgence and creamy complacency, and the way historical perspective and meaning are permitted to dissolve in its sunlit nostalgia.
  6. Paris-Manhattan
    By itself, this would just be one of those workmanlike relationship films the French turn out by the yard; but all the Allen stuff throws its mediocrity into sharp relief.
  7. Love Is All You Need
    It looks weirdly like a romcom pastiche, not cynical, but not properly inhabited; it doesn't taste of romance or comedy any more than Andy Warhol's Campbell Soup cans taste of soup.
  8. Stuck in Love
    The sharp edges of the story are sentimentally sanded down; there's a fair bit of slush, and it's a pretty quaint view of what writers and a writer's life are actually like.
  9. Renoir
    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).
  10. Riddick
    The results are by turns boring and bizarre, although Diesel still has some presence.
  11. Antiviral
    Brandon Cronenberg's movie is made with some technical skill and focus, but it is agonisingly self-regarding and tiresome.
  12. No One Lives
    Director Ryuhei Kitamura ladles on the entrails like a ghoulish dinnerlady, but his three-way narrative strategies lead nowhere.
  13. Short Term 12
    There's a too-cute-to-be-true ending to this US indie movie by the much-acclaimed young director Destin Cretton; I couldn't buy it, and found myself wondering if I had kept the receipt for the rest of the film too.
    • 73 Metascore
    • 40 Critic Score
    Prince Avalanche
    The best reason to see this misconceived film is its location.
  15. Girl Most Likely
    Odd zingers and residual eccentricities (a Whit Stillman cameo, anyone?) stand as traces of the blast it might have been, but this cast surely signed on in anticipation of many more laughs than there are in the final cut.
    • 52 Metascore
    • 40 Critic Score
    Cockneys vs Zombies
    Like Snakes on a Plane, this is a film that seems content to sit back and let the title do all the work – the flat direction does little to imbue the proceedings with any feeling of tension or surprise.
  17. 1st Night
    Grant plays it with manic glee and full-throated gusto.
  18. Dracula Untold
    It’s no-frills, B-movie modesty might have been winning, if it weren’t so dashed-off.
  19. Heaven Is for Real
    Wallace permits some debate as to what this tale represents – miracle? horror show? evidence of declining anaesthesiology standards? – yet that titular conclusion depends entirely on faith: what's on screen peters out.
  20. A Million Ways to Die in the West
    Spiritually, it's closer to a mid-range crowd-pleaser such as City Slickers than Blazing Saddles, too enamoured of genre convention to reach for the comic dynamite.
  21. Blood
    Originality may be out of Blood's jurisdiction, but it manages to plod on, dutifully walking a tired old beat.
  22. Devil's Due
    It's as substantial as seeing "The Exorcist" redone on Snapchat – and let's not even consider the implication of casting black and Latino performers as Satan's minions, because clearly its makers haven't.
  23. Bastards
    Denis's drama intrigues more than it actually delivers...Sleight of hand is all well and good. But sooner or later a film must pay up.
  24. The Immigrant
    The Immigrant is certainly different: but Gray seems to run out of ideas and the film is shapeless and unsatisfying.
  25. American Mary
    It's made with gusto, but there's little dramatic interest for non-enthusiasts.
  26. The Prey
    Director, Eric Valette, is an exuberant market-stall trader, hawking knock-off ingredients.
  27. You Ain't Seen Nothin' Yet
    Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull.
  28. The Expendables 3
    [A] blundering jackhammer of a film.
  29. That Awkward Moment
    In the main, it's the usual story – much more rom than com.
  30. Terminator Genisys
    Salvation was boring, but Genisys makes you sad. Risk-averse Hollywood has made a crash-test dummy of a once great franchise, simply throwing everything at it to see what it stands.
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