The Guardian's Scores

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:
6576 movie reviews
  1. It is an elegant if slight piece of work, touching and intriguing by turns, but hampered structurally in that it relies on two separate flashback sections.
  2. It’s all very chaotic and entertaining, like a bizarre cult sci-fi TV show that somehow survived a threat of mid-season cancellation.
  3. It isn’t just the sheer density of jokes that is impressive, but the diversity.
  4. The on-stage moments of Entertainment are revelatory but, unfortunately, some of the in-between meat of the film doesn’t quite connect.
    • 66 Metascore
    • 80 Critic Score
    The movie culminates in a tense, protracted standoff that keeps the audience on edge for way longer than is comfortable. I mean that as a compliment.
  5. A smart and beautiful meditation of fathers and sons (and the Father and Son) that is slow but never boring.
    • 68 Metascore
    • 60 Critic Score
    Clement’s unique comic timing and his character’s wonderful artwork add to this film, whose aim is to communicate how relationships work, rather than to create fake movie magic.
  6. Director Kyle Patrick Alvarez deserves all the praise in the world for the way he cranks up this pressure cooker script. The Stanford Prison Experiment begins with giggles but ends in full psychological break.
  7. Mistress America eventually travels down roads of broken trust and acceptance of reality, but please don’t let those heavy themes suggest this movie is anything other than pure delight. The primacy of the joke rules the day.
  8. Without Ronan’s performance, Brooklyn might have left a sugary taste. But she is the ingredient that brings everything together: her calm poise anchors almost every scene and every shot.
    • 47 Metascore
    • 60 Critic Score
    The premise is ripped from the headlines; the treatment is delicate and astute. Then we take a turn. Stockholm, Pennsylvania veers into movie-of-the-week melodrama and never finds its way safely back to shore.
  9. No one in the film is particularly likeable, and while the global implications about epistemology are interesting, the specifics of this particular case, at least rendered here, are quite dull.
  10. Clearly there is entertainment value in this documentary, but it’s very much of a “behind the music” calibre.
  11. Not since Grey Gardens has a film invited us into such a strange, barely-functioning home and allowed us to gawk without reservation. This is a nosy movie, but it is altogether fascinating.
    • 74 Metascore
    • 80 Critic Score
    High-school students have plenty of growing pains to offload, and Gomez-Rejon clearly knows what makes them tick. His film is at once buzzy, fun and confronting.
  12. Though our heroine remains more self-reliant than most Disney princesses, the film is too mild to constitute any kind of statement.
  13. Writer-director team Anna Boden and Ryan Fleck (It’s Kind of A Funny Story, Half Nelson) must be applauded for refusing to let their shaggy dog tale line up with any predictable storyline.
  14. Despite the uncomfortable sexism and altogether predictable nature of the film, I’d be lying if I said it wasn’t modestly entertaining.
  15. Think about that one insufferable guy you knew in school who comments on everything you put on Facebook. Now try and imagine spending an entire movie’s run time with him.
  16. Satrapi's disreputable little creepshow finally doesn't amount to a hill of beans. Maybe that's fine. The Voices provides an enjoyably trashy antidote to the traditional Sundance fare of soulful drama and crusading documentary.
  17. When Abbot and Nixon start their sparring, Mond’s film takes on a magnificently physical and tactile quality.
  18. The Aardman vision of contemporary England is generous, inclusive and - if a fast-moving film about a smart-alec sheep can allow itself such grandiose ambitions – genuinely inspiring.
  19. This movie may be too slow and verbose to be the next breakout horror hit, but its focus on themes over plot is what elevates it to something near greatness.
  20. What The End of the Tour tries to sell, and sells well, is that Wallace’s big heart was just not made for these times.
  21. It’s morally complex and sometimes uncomfortably close to the bone, but also lushly bawdy and funny, and packaged together with an astonishing degree of cinematic brio by first-time writer-director Marielle Heller.
  22. With a sly dreaminess, Vikander steals the movie from the two males.
  23. It’s a strange, naive work, with something fundamentally misjudged about the drama, characterisation and casting.
  24. Queen and Country is an entertaining and sympathetic guide to a lost world: a rite of passage that Britain was to find it could do without.
  25. The message is laid on slow and thick, but it's no less powerful for it.
    • 89 Metascore
    • 80 Critic Score
    Slightly overlong and convoluted at times, it presents compelling, sexy characters spouting sharp, believable dialogue.

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