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. Dheepan
    This may not be the director’s most immediately electrifying film, but in its understated way, it’s an immensely powerful work.
  2. One Floor Below
    This is detached, flat film-making at its most bare. You figure out which lines of dialogue deserve to be underlined.
  3. The Little Prince
    This is a very good-looking film that represents a brave attempt to do justice to a very popular book; it manages it, just.
  4. A Perfect Day
    Inconsistency is A Perfect Day’s biggest problem. The script is scalpel sharp in some places, flabby as the well-blocker in others.
  5. A Tale of Love and Darkness
    Portman has made a film with something serious and interesting to say about Israel, a nuanced portrait of the place that demonstrates a commitment to, and connection with, her home country. This is an assured, heartfelt debut.
  6. Poltergeist
    It’s a shame Kenan can’t muster his own bit of gothic shorthand for post-credit crunch America, but the film still has a fluid, 3D-orientated immediacy.
  7. Love
    It’s hardcore, yet much softer-core than Noé’s earlier movies, without the terrifying shock factor of Irréversible and Seul Contre Tous, and without the visual brilliance of Enter the Void, and Love is preposterous and badly acted and talky in a way that porn films haven’t been since they were designed to be shown in cinemas.
  8. Piku
    Star power aside, it’s a modest, reined-in entertainment, rejecting musical numbers for a simple whistled refrain, and clocking in at just two hours.
  9. Disorder
    Winocour’s ability to build suspense is solid but she’s less confident when it comes to following through. She toys with perversity but sticks to formula.
  10. Louder Than Bombs
    A rather silly, pointless and directionless film.
  11. In the Shadow of Women
    Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
  12. Green Room
    Saulnier’s ability to take a well-trodden road and fill it with grisly surprises is quite something.
  13. Cemetery of Splendor
    It is such a strange film in its way, stranger still if you are not accustomed to Weerasethakul’s work, and it needs a real investment of attention. But there is something sublime in it.
  14. Tale of Tales
    It is a masterpiece of black-comic bad taste and a positive carnival of transgression. The secret is the deadpan seriousness with which everything is treated.
  15. Carol
    It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.
  16. Irrational Man
    Irrational Man is a good idea, a sketch for a movie, but the movie itself is unrealised.
  17. It's Such a Beautiful Day
    Funny, oddly affecting and cherishably personal.
  18. Inside Out
    It hasn’t anything as genuinely emotionally devastating as Up, or the subtlety and inspired subversion of Monsters Inc. and the Toy Stories which it certainly resembles at various stages. But it is certainly a terrifically likeable, ebullient and seductive piece of entertainment, taken at full-throttle.
  19. Tomorrowland
    Director Brad Bird deserves praise for packing such big ideas into such an accessible, rip-roaring, retro-futurist adventure.
  20. Amy
    It is an overwhelming story, and despite everyone knowing the ending, it is as gripping as a thriller: Kapadia has fashioned and shaped it with masterly flair.
  21. The Lobster
    It’s an adventure which begins by being bizarre and hilarious but appears to run out of ideas at its mid-way point, and run out of interest in what had at first seemed to be its central comic image: humans turning into animals.
  22. Mad Max: Fury Road
    That adjective in the title is accurate. Extravagantly deranged, ear-splittingly cacophonous, and entirely over the top, George Miller has revived his Mad Max punk-western franchise as a bizarre convoy chase action-thriller in the post-apocalyptic desert.
  23. Hunting Elephants
    Hunting Elephants has its requisite scenes of planning and setbacks, but it mostly settles for old-people jokes (now I know the Hebrew for Viagra: it’s Viagra) and making Patrick Stewart look like an imbecile.
  24. Hot Pursuit
    I can’t believe just how dumb Hot Pursuit is. Moreover I can’t believe just how much I laughed.
  25. 45 Years
    It could be the finest hour for both of its lead actors.
  26. The Nightmare
    More frightening (yet strangely entertaining) than most of today’s narrative horror films.
  27. Days of Grace
    It's a confident, well-made film that ends up in a blind alley of cynicism.
  28. 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.
  29. The Great Museum
    A pleasing, high-minded film; also something of a palate-cleanser.
  30. Dirty Weekend
    It’s a play shoehorned into a film. Sometimes that can work – LaBute’s managed it before – but it’s a steep hill to climb, and this one doesn’t quite make it.
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