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. Yves Saint Laurent
    The film's purpose is the reverent mystification of everything that avowedly makes YSL special.
  2. The Legend of Tarzan
    The Legend of Tarzan ends up being a garbled, clunky production that tries to please everyone and ends up pleasing no one.
  3. The Brothers Grimsby
    Grimsby has the occasional laugh and a succession of finely wrought grossout spectaculars which are reasonably entertaining.... But with its cod-Bond and mock-action material it carries a weird overall feel, like kids’ TV but produced on a lavish scale with added filth.
  4. Monster Trucks
    It has tentacles and hot wheels, yes, but not the legs or bright ideas to sustain itself.
  5. Legends of Oz: Dorothy's Return
    Even by the standards of allowance-snatching half-term filler, this is pretty indifferent.
  6. Guilty of Romance
    The pungent, ponderous final chapter of Sono's "Hate" trilogy (following Love Exposure and Cold Fish) bows out with lots of bangs and plenty of whimper.
  7. Ride Along 2
    This laid-back amusement should not be misinterpreted as competent storytelling. Though some of the jokes land, that’s entirely due to the performances; there’s not one example of clever writing in the entire picture.
  8. Hotel Transylvania 2
    By the end of this 89-minute film, I was absolutely on the edge of my seat. Not due to suspense, but due to my utter disdain for the infantile plotting.
    • 59 Metascore
    • 40 Critic Score
    Hateship Loveship
    For most of its length, in fact, the film seems to boil beneath its quiet surface like a Munro tale, and indeed like Joanna herself. Wiig carries this apparently unresolved tension in physical form: a wonderfully mannered performance of short steps and furious scrubbing and standing defensively behind chairs.
  10. Whitey: United States of America v. James J. Bulger
    Dense thickets of information, told via rostrum-shot photos and documents plus angry mob’s worth of witnesses, become a grind after a while, as does the trite guitar-led mystery music.
  11. Into the Storm
    Its destructive setpieces may loose the odd popcorn kernel on to the multiplex carpet, but it's really just an effects reel: the weather – cloudy wisps turning to massive, fiery hellblasts – is considerably better developed than its quarry. Stick with Twister.
  12. Underdogs
    Ping-ponging camera moves temporarily distract from the haphazard structuring and translation.
  13. Half of a Yellow Sun
    the film is often stately and sluggish with some very daytime-soapy moments of emotional revelation.
  14. The November Man
    There’s no way around this: The November Man is asinine. It is not without its pleasures – if you like seeing people get hit in the face with shovels, that is – but it might be the most irresponsibly dumb spy thriller I’ve seen in some time.
  15. The Love Punch
    Sometimes it works - Brosnan and Thompson are sedately charming, Spall and Imrie are naturally funny together - but there's only so much humour you can squeeze out of Pierce's dicky prostate.
  16. The Sea
    Hinds is a strong, wounded presence, but the laboured structure cuts insistently around him to get at a psychology mostly scrambled in translation. This Sea's just too choppy.
  17. If I Stay
    The smart cast occupy themselves with the dog-eared emotions scattered around the waiting rooms.
  18. Magic Mike XXL
    We’re always waiting for something important or interesting to happen, but it never really does.
  19. London Has Fallen
    There is some surreal fun at the beginning as everything collapses.... But then it’s the same thing over again.
  20. Beverly Hills Cop: Axel F
    Murphy’s maverick cop – and his theme music – are back to fight corruption, but four decades on there’s little energy to enliven their formulaic reunion.
  21. Geostorm
    We have been sold a false bill of goods.
  22. The Walk
    The story The Walk tells is, admittedly, an unbelievable one, so it’s understandable Zemeckis should choose to leave subtlety at the door. Sadly, such an approach strips the film of tension, especially at the crucial moment.
  23. Saint Laurent
    Saint Laurent is a well made but bafflingly airless and claustrophobic film.
  24. The Search
    It could be that Hazanavicius wanted, once again, to channel some of that Old Hollywood big-hearted sincerity — just as he did with his silent-movie triumph The Artist. But the outcome here is naive and misjudged.
  25. Fonzy
    Watch all of them back to back and it's the tiny details that start to become fascinating, like the way Fonzy's version of the climax is fractionally less sentimental, how lead Garcia is more sympathetic than Vaughn but less engaging than Starbuck's schlubby Patrick Huard.
  26. Postman Pat: The Movie
    I'd never want to stand in the way of artists pushing things, but messing with Postman Pat is probably a step too far.
  27. Marius
    Not just cinéma de papa, but cinema de grand-papa.
  28. Fanny
    Auteuil has fashioned hidebound museum pieces that expand the backdrop with sun-dappled glimpses of port activity, while generally resisting any notes of modernity or change of emphasis. What modicum of cosy Sunday-afternoon pleasure they provide stems from the performers.
  29. Hector and the Search for Happiness
    Whatever enlightenment there is here proves far too easily gained. Keep looking, folks.
  30. Horns
    Horns plays instead like a high concept beer advert – breezily stylish, memorable in its time, but a bit too full of gas.
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