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. Cold Comes the Night
    Even Cranston looks to be on auto-pilot here: he comes stomping through the action with a perma-scowl that suggests that his break from playing Walter White is little more than a busman's holiday.
  2. The Mummy
    It’s a ragbag of action scenes which needed to be bandaged more tightly.
  3. Blackhat
    Blackhat can’t decide if it is a grim, realistic story from the trenches or cyberwarfare or a giddy, “who cares if that makes sense?” Bond film.
  4. Veronica Mars
    Proves more footnote than fresh start.
  5. 1,000 Times Good Night
    Binoche's performance – tiresomely radiating a martyred integrity – is mannered and self-conscious, and her character's professional work is naively imagined.
  6. Self/less
    Ryan Reynolds does the best he can with the material.... But any intelligence is tossed once we get mired in a series of dull chase scenes.
  7. Trap for Cinderella
    Looks dated and clunky, like a drawn-out episode of Roald Dahl's Tales of the Unexpected on TV, and the direction doesn't have Softley's usual drive.
  8. The Sacrament
    Ti West's latest feels both more expansive – choppering Vice reporters into a seemingly progressive tropical utopia raises intriguing social themes – and yet a marked disappointment.
  9. Step Up: All In
    This really doesn't have the fun or the zip of that earlier Miami adventure. The dialogue is even more tired and, crucially, the dance sequences themselves are looking less fresh this time around.
  10. Ice Age: Collision Course
    This could provide some small-screen entertainment for bored kids on a rainy day. But really: enough.
  11. The Best Offer
    Filmed in what you might call the international hotel style, Tornatore's idiotic premise is entertaining if you don't inspect it too carefully, or look for anything beneath the portentousness.
  12. 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.
  13. Lost River
    It is colossally indulgent, shapeless, often fantastically and unthinkingly offensive and at all times insufferably conceited. Yet it is frustrating precisely because it sometimes isn't so bad. There is something in there somewhere - striking images and moments, and the crazy energy of a folie de grandeur.
  14. Before I Go to Sleep
    It aims for sexy and/or dangerous, but the tone is dry and the pace lags.
  15. Knight of Cups
    There are moments of visual brilliance here, moments of reverence and even grandeur. He is always distinctive, and anything he does must be of interest. But his style is stagnating into mannerism, cliche and self-parody.
  16. Midnight Special
    There’s an absence of fun here, and for what is ultimately a chase movie, a severe lack of pace. Nichols doesn’t feel like a strong match for the genre or for the very specific type of fantasy movie he wants to make.
  17. She's Funny That Way
    Bogdanovich is a formidable figure, but with this movie he’s just coasting. He surely needs to find a screenplay more attuned to his brilliance, rather than a derivative, low-octane comedy.
  18. Song One
    Writer-director Kate Barker-Froyland's debut feature is a mournful number, held back by an uncertain performance by Flynn and an alienating reverence for the restorative power of middling indie-folk.
  19. Life After Beth
    Life After Beth, a frustrating affair due to its waste of resources, feels rushed and under-rehearsed. It is a style of film-making that hopes it can glide its way into your good graces on ad-hoc performance flourishes, a wall-to-wall audio mix and editing patches. One soon recognizes this all a cover for one key issue: a lack of original ideas.
  20. White Bird in a Blizzard
    Nothing really adds up to much, past a solid performance from Woodley and the energetic - if out-of-place - turn from Green.
  21. 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.
  22. The Better Angels
    There’s slow cinema and there is boring cinema, and this is an unfortunate example of the latter.
  23. Camp X-Ray
    Sattler's film leans on its actors too heavily. It heaps too many implausibilities upon their trembling shoulders. After an hour in Camp X-Ray, the strain starts to show.
  24. Infinitely Polar Bear
    Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.
  25. Maladies
    This is basically a studied and serious film, but there's a feyness to its tone, and a lethargy to its pacing that make it difficult to warm to, even if the principal actors give it their all.
  26. A Coffee In Berlin
    This debut for German writer-director Jan Ole Gerster seemingly aims to transplant a mumblecore aesthetic into Berlin, with all the requisite aimless hipsters, whimsical touches and rambling narrative dips and dives; but someone forgot to add spontaneity or edge.
  27. The Nut Job 2: Nutty by Nature
    The summer of inessential animation continues with this very middling sequel to 2014’s semi-forgotten squirrel-based timekiller.
  28. Imperial Dreams
    Vitthal's film is full of heart, but overly ambitious. He could have made it easy on himself and steered us down a much more familiar route. Instead he delivers a moralistic story that's pure in its intention and a real slog to watch.
  29. As Above, So Below
    There are some interestingly contrived moments of claustrophobia and surreal lunacy, but this cliched and slightly hand-me-down script neither scares nor amuses very satisfyingly.
  30. The Pirate Fairy
    Business concerns sit close to the surface throughout, unmasked by much in the way of artistry.
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