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 Family Fang
    Saturation point when it comes to quirkily dysfunctional families in over-soundtracked dramedies was reached long ago.
  2. Maze Runner: The Scorch Trials
    This film is making a wheezing, spluttering sound: the sound of a profitable YA franchise running out of steam.
  3. 3 Generations
    The script is sensitively handled and it’s unarguable that showcasing stories such as this is an important way of educating the masses about a difficult process. But while it’s hard to hate, it’s even harder to like.
  4. Eye in the Sky
    Eye in the Sky aims to thrill and covertly manages to inform simultaneously.
  5. Equals
    Equals doesn’t really work as either a plausible attempt at rendering some sort of future society, nor as a really convincing thwarted-love story.
  6. A Bigger Splash
    As with I Am Love, Guadagnino has put together something utterly distinctive here, a cocktail of intense emotions, transcendent surroundings and unexpected detours. A real pleasure.
  7. Anomalisa
    Anomalisa is a movie with wit to burn (look out for the Sarah Brightman line and the meeting room pit) and enough incidental touches that the total achievement feels immense.
  8. Our Brand Is Crisis
    The film is in need of an edge that Peter Straughan’s screenplay fails to deliver.... Yet Sandra Bullock seems blissfully unaware of the film’s faults and delivers a performance that expertly plays on her strengths.
  9. 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.
  10. Listen to Me Marlon
    Director Steven Riley’s film is a fascinating collage which profoundly probes its subject’s psyche.
  11. Victoria
    Despite the strong performances, it’s Schipper’s single-shot conceit - and the fact that he and his team pulled it off with aplomb - that makes Victoria such a bracing triumph. While the entire enterprise is inarguably a stunt, Victoria manages to overwhelm in ways that few films do.
  12. The Martian
    A wide-eyed tribute to human ingenuity that packs enough snark to pull itself out of the black hole of earnestness, even if its fuel runs out partway through.
  13. Where to Invade Next
    Where to Invade Next is a romantic film, equally affecting and annoying in its simplicity.
  14. Demolition
    A frustratingly aimless soul-search that veers uncomfortably between quirk and melancholy.
  15. I Smile Back
    This is a case of good acting saving a movie from its own poor choices.
  16. Home from Home: Chronicle of a Vision
    It is superlatively well performed and well directed with a real narrative grip.
  17. Suffragette
    Director Sarah Gavron does well to galvanize her story with a degree of urgency: the result of swift, assured camerawork and a brilliantly understated performance by Carey Mulligan.
  18. Steve Jobs
    Sorkin’s heavily heightened sense of drama works best when the stakes are equally aligned but, despite the film constantly informing you of just how incredibly important everything all is, it’s disappointingly difficult to truly care about what’s taking place.
  19. Room
    There are some plausibility issues in Room, but this is a disturbing and absorbing film, shrewdly acted, particularly by Larson. It lets the audience in; it does not just let the nightmare stun them into submission. You make a real emotional engagement.
  20. Wolf Totem
    Annaud’s film can’t help itself galloping off in allegorical bursts barely under his control, and intriguingly off-course from the kind of bold messages of national conciliation officially sanctioned Chinese films tend to convey.
  21. The Danish Girl
    Well-meaning and polished as it is, The Danish Girl is a determinedly mainstream melodrama that doesn’t really offer new perspectives on its theme.
  22. Black Mass
    Scott Cooper’s Black Mass is a big, brash, horribly watchable gangster picture taken from an extraordinary true story and conceived on familiar generic lines.
  23. Legend
    It’s a disappointingly shallow take on a fascinating period of time and leaves us sorely uninformed, as if we’ve skim-read a pamphlet. The legend might live on but Legend certainly won’t.
  24. Spotlight
    Spotlight never hits the heights of passion, but capably and decently tells an important story.
  25. Beasts of No Nation
    Fukunaga brings flair, muscular storytelling, directness and a persuasively epic sweep to this brutal, heartrending movie.
    • 51 Metascore
    • 60 Critic Score
    A Walk in the Woods
    A Walk in the Woods is certainly no Butch Cassidy, but it is interesting to check in with these two still-compelling codgers.
  27. Everest
    Everest is a frustrating movie in many ways – despite some lurches and shocks, it doesn’t quite deliver the edge-of-your-seat thrills that many were hoping for, and all those moderately engaging characters mean that there is no centrally powerful character.
  28. War Room
    One can always keep praying that the next of these films will be a little better.
    • 78 Metascore
    • 80 Critic Score
    Welcome to Leith
    It is as well-balanced and observed a documentary as there is, even if no sane human being could side with Cobb and his people.
    • 80 Metascore
    • 80 Critic Score
    Finders Keepers
    Finders Keepers pays as much attention to the comedy of the story as the humanity. What could easily be a silly saga or a simple indictment of the culture of fame becomes something diabolically more insightful and uplifting.
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