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 Golden Dream
    It's a tough, absorbing and suspenseful drama, excellently acted by its three non-professional leads.
  2. The Mend
    Many a first-time film-maker thinks they are too good to follow any sort of rules, and blends genres by writing from a purely instinctual level. More often than not, the result is unpalatable. The Mend, somewhat miraculously, is here to buck the trend. Let’s just hope that not too many people decide to follow its lead.
  3. Jafar Panahi's Taxi
    Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
  4. Station to Station
    The artists’ blathering about the creative process and the nature of existence gets monotonous. It’s the ordinary folk that keep the film on-track.
  5. Hitman: Agent 47
    This vaguely science-fiction action picture based on a video game (and not a sequel to 2007’s Hitman) is an idiotic mess with a bafflingly dense prologue, an endless final battle, lifeless performances and anticlimactic twists, but it does have a degree of visual flair.
  6. American Ultra
    Unfortunately both Eisenberg and Stewart, both frequently brilliant, are on unsure footing here. The movie simply doesn't know if it wants to be Jason Bourne or Cheech and Chong.
  7. Learning to Drive
    [A] touching, insightful and, at the end of the day, extremely well-meaning film.
  8. Tom at the Farm
    The psychological thriller form has imposed on Dolan some discipline, and brought out his talent and energy.
  9. The Man from U.N.C.L.E.
    There’s some nice early-60s period production design and the whole thing moves along smoothly, if unhurriedly. But it never delivers anything like the punch of Tom Cruise’s M:I adventures, nor the wit and distinctiveness of 007.
  10. The Gift
    The debutant director applies himself with the same quiet assurance and attention to detail he’s displayed in his acting projects.
  11. The Falling
    This is terrific film-making – enough to bring a rush of blood to the head.
  12. 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.
  13. Ricki and the Flash
    Ricki and the Flash’s emotional intensity creeps up on you, and it’s all due to the performances. Everyone’s sympathetic, everyone’s got depth.
  14. Mission: Impossible - Ghost Protocol
    It's solid entertainment.
  15. Straight Outta Compton
    The first half of Straight Outta Compton, F Gary Gray’s two-and-a-half hour opus about the birth of west coast gangsta rap, is bursting with energy, exuberance and inspiration. The second half is immobilised by bloat and sanctification.
  16. The Kindergarten Teacher
    One of the most fascinating, if inscrutable films of the year.
  17. A Brilliant Young Mind
    This is an attractively unparochial drama with a bracing interest in excellence.
  18. The Seventh Dwarf
    The script balances kiddie-friendly winsomeness and knowing winks for grownups, and is more tightly constructed than you’d expect, with even fleeting throwaway gags delivering plot payoffs later on.
  19. Vacation
    Helms, a funny performer, is just the face of a mining expedition for easy yuks out of a recognised title. What that says about our regurgitative culture is rather depressing. There’s so much nostalgia on our screens right now. I could really use a vacation.
  20. Zipper
    What’s ultimately frustrating about Zipper is that it seems like it has something important to say about infidelity and the sex industry, but can’t decide what that should be.
  21. Mission: Impossible - Rogue Nation
    A sequel that is slick with silliness, but peppered with enough wit and peril to sustain the franchise’s momentum.
  22. Paper Towns
    The best parts of Paper Towns are also the best part of being young – just hanging out doing nothing with friends who know you too well to allow for any lies.
  23. A Gay Girl in Damascus: The Amina Profile
    Bagaria’s personal journey has none of the gravitas on screen that the director wants it to have, especially when set against the backdrop of actual human rights crises in Damascus.
  24. Samba
    It is refreshing that this story does not simply unravel into miserablism, but the film’s weird narrative leaps are implausible and jarring.
  25. Phoenix
    It’s a testament to Petzold’s sane head, steady hand and effortless storytelling skill that implausible plot-points are smuggled past us in their own blood-soaked bandages.
  26. That Sugar Film
    Garneau with his Smeg fridge and smug affect grows more irksome over the course. Moreover, engagement with issues around poverty, capitalism and public policy kicks in a bit too late.
  27. Partisan
    You’re never sure what the characters are capable of achieving and the bottled-up energy that comes out of that feeling runs throughout.
  28. Gabriel
    Howe’s film is drenched in empathy, where violent actions aren’t exactly excused, but at least framed with understanding.
  29. Hippocrates: Diary of a French Doctor
    The result may honour the daily reality of medical professionals – the finale’s a credibly fractious staff meeting – but it makes for a patchy, hesitant dispatch, more “er …” than ER.
  30. Trainwreck
    While there are things to quibble with, there is also so much to like, and Trainwreck is still an important film. The romantic comedy, which it ultimately becomes, has been a dying genre of late, and Schumer’s effort, while flawed, is a reminder of what can make the genre so likable
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