The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Son of Saul
    By any standards, this would be an outstanding film, but for a debut it is remarkable.
  8. 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.
  9. 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.
  10. 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.
  11. My King
    Mon Roi, directed and co-written by Maïwenn (that is, film-maker and actor Maïwenn Le Besco) is an unendurable confection of complacent and self-admiring nonsense: shallow, narcissistic, histrionic and fake.
  12. Mia Madre
    Mia Madre is a tremendously smart and enjoyable movie.
  13. Our Little Sister
    The film is quiet, understated and gentle, allowing the audience to take pleasure in teasing out its narrative subtleties, and presented with wonderful freshness and clarity.
  14. The Sea of Trees
    For all its apparent sombreness and thoughtfulness, The Sea Of Trees is an exasperatingly shallow film on an important and agonisingly painful subject - depression and suicide. This it slathers in palliative sentimentality.
  15. Sicario
    Blunt’s performance has an edge of steel. She brings off a mix of confidence, bewilderment and vulnerability, which functions very well against the alpha male characters higher up the chain of command.
  16. Youth
    Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with.
  17. Dheepan
    This may not be the director’s most immediately electrifying film, but in its understated way, it’s an immensely powerful work.
  18. One Floor Below
    This is detached, flat film-making at its most bare. You figure out which lines of dialogue deserve to be underlined.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Louder Than Bombs
    A rather silly, pointless and directionless film.
  27. 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.
  28. Green Room
    Saulnier’s ability to take a well-trodden road and fill it with grisly surprises is quite something.
  29. 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.
  30. 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.
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