The Guardian's Scores

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For 6,581 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: 2,495 out of 6581
  2. Mixed: 3,767 out of 6581
  3. Negative: 319 out of 6581
6581 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. Gabriel
    Howe’s film is drenched in empathy, where violent actions aren’t exactly excused, but at least framed with understanding.
  5. 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.
  6. 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
  7. Ant-Man
    Ant-Man is a cut-and-shut muddle, haunted by a ghost, produced by a high-end hot dog factory, by turns giddying and stupefying. Watching it is like channel-surfing between "Hot Fuzz", a duff early 90s Michael Douglas drama and the very schlockiest bits of "Interstellar".
  8. What We Did on Our Holiday
    It’s impossible not to enjoy this big-hearted and sweet-natured British family movie.
  9. Stations of the Cross
    It is all intensely controlled, although this is a drama that goes by the book, in all senses; there are no unabsorbed events to disorder the parable’s secular/religious alignment, and the Greeneian miracle it eventually conjures is arguably a little too pat. Yet it is also strangely moving.
  10. 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.
  11. Terminator Genisys
    Salvation was boring, but Genisys makes you sad. Risk-averse Hollywood has made a crash-test dummy of a once great franchise, simply throwing everything at it to see what it stands.
  12. Magic Mike XXL
    We’re always waiting for something important or interesting to happen, but it never really does.
  13. The New Girlfriend
    The tone wavers between psychological thriller and absurdist melodrama, and perhaps suffers for not settling on either, but it’s grounded by two terrific leads.
  14. Any Body Can Dance 2
    ABCD2 is the latest film to recognise that – however you gender your gaze – there is an abiding pleasure in watching bodies in motion, and choreographer-turned-director Remo d’Souza keeps nudging more of them on.
  15. Ted 2
    The Ted franchise is perhaps unstoppable if MacFarlane sets his sights a bit lower, finds a way to streamline the plot mechanics and just give moviegoers what they never knew they wanted: time hanging out with a foul-mouthed anthropomorphised soft toy.
    • 77 Metascore
    • 80 Critic Score
    3 1/2 Minutes, 10 Bullets
    Davis’s parents have called for stricter gun control laws in the wake of their son’s death. Silver has provided them with a powerful tool for their cause in this shocking, moving and relatively unbiased account of the tragedy.
  17. Hamari Adhuri Kahaani
    Suri is also testing the modern audience’s willingness to suspend disbelief, and the material he’s working with here – unfolding the happenstance-heavy mystery of a woman at the mercy of the men around her – proves barely fit for this purpose, or any other.
    • 77 Metascore
    • 60 Critic Score
    Grandma
    Grandma is fun and brisk, though sometimes the encounters seem a little pat, and Elle’s grief about the death of her partner a year earlier is way overdone.
  19. Jurassic World
    A terrifically enjoyable and exciting summer spectacular: savvy, funny, ridiculous in just the right way, with some smart imaginative twists.
  20. Alléluia
    Fabrice du Welz's serial-murder jolly doesn't quite dramatically press its central relationship enough to prevent the film from devolving at the last into a default bloodbath. But it's disturbingly credible for a long time.
  21. United Passions
    Even without the current headlines, United Passions is a disgrace. It’s less a movie than preposterous self-hagiography, more appropriate for Scientology or the Rev Sun Myung Moon. As cinema it is excrement. As proof of corporate insanity it is a valuable case study.
  22. Entourage
    Entourage is like an enthusiastic puppy, slightly tipsy on beer, humping on a stripper’s leg, but desperate to please nonetheless. It is a film designed to be liked – which makes it hard to hate.
  23. Results
    Although not as strikingly original as Bujalski’s earlier work, there’s something endearing about the characters, the film’s laconic, stoner rhythms and quirky plotting. In the end, it has something wise and kind to say about loneliness and the cult of personal improvement.
  24. Chronic
    Tim Roth is excellent as David: impassive and enigmatic, withholding the truth about himself, but radiating in repose a sadness and a swallowed pain.
  25. The Assassin
    The movie is a distillation of the assassin’s life of watchfulness, survival and fear. At other times, it has a dreamlike quality: a floating hallucination. The Assassin baffles, but more often it quietly captivates and astonishes.
  26. Yakuza Apocalypse
    For all its berserk energy, you will need a very particular sense of humour not to lose patience with the prolific Takashi Miike’s latest.
  27. Son of Saul
    By any standards, this would be an outstanding film, but for a debut it is remarkable.
  28. Mountains May Depart
    The pure work-in-progress energy of all this is exhilarating, and if the resulting movie is flawed in its final act, then this is a flaw born of Jia’s heroic refusal to be content making the same sort of movie, and his insistence on trying to do something new with cinema and with storytelling.
  29. Macbeth
    There is a lot of sound and fury in this Macbeth, but not without meaning. It’s not perhaps a very subtle version, and I felt that Kurzel should have perhaps worked more closely with Fassbender with the contours of his speeches, and shown the painful mind-changing and nerve-losing in the early stages. There is an operatic verve.
  30. Marguerite & Julien
    This buttock-clenchingly embarrassing movie from director Valérie Donzelli is a pre-Revolutionary period drama from the quality end of the sugary French market – theatrically tricked out with one or two annoying and clumsy Brechtian touches of stylised self-aware modernity.
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