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. The Nut Job
    The absence of new or sustainable ideas dooms it to instant mediocrity.
  2. Filth
    For the first half-hour it's got a full-on horrible energy, but there isn't enough humour for it to qualify as comedy, and not enough reality or plausible characterisation to justify calling it any sort of procedural noir.
  3. Broken
    There are some good ideas, strong moments and a blue-chip cast in Broken, the feature-film debut from award-winning theatre and opera director Rufus Norris. But they somehow don't come together successfully.
  4. Godzilla
    While many people might want to go to the cinema to see Godzilla, what they get instead is a load of homosapiens desperately trying to put a human face on the drama.
  5. Romeo & Juliet
    It has a sort of soapy reliability, but compare it to the blazing passion of Baz Luhrmann's modern-day version with Leonardo DiCaprio and Claire Danesin gangland LA and it looks pretty feeble. Plus, the liberties taken with the text mean that it might not even be all that suitable for school parties.
  6. Dom Hemingway
    Everyone is trying way too hard and Dom's final speech is toe-curlingly misjudged and charmless.
  7. The Judge
    The Judge is a timeless film, in that it could have been made at almost any point over the past 80 years: rote plot, functional support, well-signalled twists. It’s a two-seater star vehicle offering little legroom for other passengers.
    • 37 Metascore
    • 40 Critic Score
    Winnie Mandela
    The source material is Anne Marie du Preez Bezdrob's biography, and the period detail is spot on. Yet Winnie: the movie opts to wear its heart openly on its sleeve, and play it absurdly safe.
    • 50 Metascore
    • 40 Critic Score
    A.C.O.D.
    [An] amusing but formulaic man-in-crisis comedy.
  10. Zaytoun
    It's quite a sweet idea, with a liberal attempt at balance, though Palestinian audiences may query the idea of making their half of this equation a child, and Fahed's motivation for defying his elders in quite so disloyal and dangerous a way, is never convincingly explained.
  11. Million Dollar Arm
    Hamm and Alan Arkin's grouchy scout conclude these deals with unarguable professionalism, but we can spot the manoeuvres required to magic neocolonialist playbook into heartwarming fairytale.
  12. Weekender
    It's rammed with cliches and silliness and conforms to a lot of stereotypes, the most suspect being the obligatory scene in Ibiza whose only purpose is to show loads of young women with no tops on.
  13. Search Party
    These films were always down on women – Armstrong squanders the peerless Krysten Ritter as eye candy – but this slovenly runaround only exposes the low opinion they’ve harboured of their target male demographic. We’re meant to identify with them?
  14. Flu
    Coughs and sneezes do indeed spread diseases in this amusingly feverish thriller, a Korean attempt to take back some of those lurgies let loose by Soderbergh's colder-blooded "Contagion."
  15. Begin Again
    The film's sole saving grace is, of course, Ruffalo.
  16. What If
    It's pulled this way and that by a hiddly-fiddly soundtrack, spun senseless by scene after scene of Radcliffe and Kazan trading flirtatious banter.
    • 37 Metascore
    • 40 Critic Score
    Are You Here
    You Are Here ultimately suffers from a problem of tone. It wants to be a stoner bromance, a pastoral romcom and an incisive drama about mental illness.
  18. Locke
    Full credit to Hardy and Knight for making a film such as Locke. Low-budget film-makers could learn a lot from their method. And yet – having stripped away all but the bare necessities, having reduced the components to a car and a man – they make a classic error of overcompensation.
  19. Maggie
    I give the odd, small film Maggie all the points in the world for experimenting with genre-blending and subverting audience expectations, but there’s just too much about it that fails to connect.
  20. In Secret
    It's imprisoned by its own glibness, grabbing for sensation over emotion, and looking silly whenever it misses.
  21. Warcraft
    Director Duncan Jones, a self-professed Warcraft fan, has clearly put a lot of love and care into fleshing out a story, but it’s questionable whether it was ever really merited. There’s a terminal flimsiness, as if this virtually-derived world hasn’t quite assumed three dimensions.
  22. Our Day Will Come
    It's a road movie that runs out of road – and out of ideas.
  23. Endless Love
    A certain doofy sincerity – all fairy lights and lakeside kisses – and Wilde's nervy, natural responses keep matters semi-watchable. As a romance, though, it's by-the-book.
  24. Love Tomorrow
    Frankly, the performances and line-readings are uneven. The couple's journey through night-time London is interesting: both have a painful past that they are at first reluctant to discuss, especially Maya, but these disclosures are not dramatically developed in any really satisfying way.
  25. Live by Night
    By the end of a long two hours, there’s not much life left.
  26. Fantastic Four
    The cast are some of the most promising actors of their generation, but what chemistry there is between them is swept away by wave after wave of expository dialogue and ludicrous exclamation.
  27. Cuban Fury
    This comedy never quite relaxes or convinces or comes together, despite a blue-chip pedigree and a great cast.
  28. Passengers
    Stalking tactics bolstering romantic comedies are by no means new, and over the decades, film-makers have proved adept at somehow planing down real-world nastiness, but here it’s gruesomely inescapable.
  29. Alice Through the Looking Glass
    The studio has managed to deliver a follow-up that’s even weaker than its predecessor. In crude terms: Alice’s second trip to Underland wasn’t worth the wait.
  30. This Is Where I Leave You
    This is Where I Leave You is totally aimble, utterly unmoving filler given a major shot in the arm by its cast, people it’s simply a pleasure to watch, even with the creeping feeling they’re better than this.
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