The Guardian's Scores

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For 6,573 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 2.3 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: 2,491 out of 6573
  2. Mixed: 3,763 out of 6573
  3. Negative: 319 out of 6573
6573 movie reviews
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  1. Blackhat
    Blackhat can’t decide if it is a grim, realistic story from the trenches or cyberwarfare or a giddy, “who cares if that makes sense?” Bond film.
  2. Effie Gray
    It’s a little hammy and soapy, with an occasional Pythonesque sense of its own importance but this film, directed by Richard Laxton, is performed with gusto.
  3. Taken 3
    It’s difficult to know what subtitle to give this. Taken 3: Not Again, or Taken 3: Seriously? or Taken 3: This Is Getting a Bit Much Frankly.
  4. The Woman in Black 2: Angel of Death
    This inevitably doesn’t have the charge of the first story, but it is still interestingly weird and dreamlike, and quite disturbing. A commercially driven sequel, sure – but still effective.
  5. Kingsman: The Secret Service
    Despite the presence of grandfatherly Michael Caine, Kingsman’s tone is about as far from the Christopher Nolan-style superhero film as you can get. Verisimilitude is frequently traded in for a rich laugh. The action scenes delight with shock humour.
  6. Predestination
    Even if Predestination is distinctive chiefly for Snook’s excellent performance, it’s still a tricksy story well-handled by its directors. It doesn’t offer any new twists on the genre, but it is clever enough to leave you satisfied that you don’t want the time back.
  7. Big Eyes
    Certainly we care for Margaret and the way Walter has her trapped, but her character comes across as a cypher representing a great number of issues without being a real individual. This movie wants to be an oil painting, but ends up being more of a mass-produced, though good-quality print.
  8. The Interview
    Both Rogen and Franco, who have marvellous chemistry and exude good cheer, continue to tweak their personas in this very amusing, very imbecilic film.
  9. The Salt of the Earth
    The co-operation between Wenders and Salgado Jr works well, mixing the former's heavyweight presence as both interviewer and storyteller, and the latter's ability to harvest intimate, deep-buried subtleties that may otherwise not have seen the light of day. Together they have made a moving tribute to a peerless talent.
  10. Get Santa
    The film is listing, overladen with cheap trinkets. Dogged, heartfelt acting works hard to prop it up.
  11. The Water Diviner
    A handsome crowdpleaser with a big heart.
  12. Tip Top
    There's so much thrown into Tip Top that nothing stands out.
  13. Human Capital
    It may be no more than the sum of its parts, and the slightly soap-operatic finale doesn’t entirely distract your attention from untied plot threads, but there is some great fancy footwork in the narrative and fierce satirical strokes that recall Tom Wolfe.
  14. Selma
    Unimpeachably important, ambitious in its scope and handsomely presented, it has all the hallmarks of a trophy winner, for better and worse.
  15. She's Beautiful When She's Angry
    Despite the desultory nature of the film, it is sure to hammer home some key points.
  16. Zero Motivation
    Zero Motivation is a shot of honesty, in which short-term goals are far more important than larger geo-political ones. Perhaps because they are the only ones over which we have any control.
  17. We Are the Giant
    Greg Barker’s documentary is a heartfelt, if historically disjointed, tribute to individuals who took part in the Arab Spring.
    • 24 Metascore
    • 20 Critic Score
    The Pyramid
    Levasseur understands the claustrophobia of being locked inside a stuffy pyramid with collapsing floors and sand traps. Unfortunately for him, Indiana Jones turns out to be incompatible with Alien, and the bad acting and atrocious script don’t help.
  19. The Hobbit: The Battle of the Five Armies
    Like Agatha Christie’s detective novels, there would appear little in the way of aesthetic – as opposed to technological – progression; having set the tone so definitively at the outset, each film delivered exactly what it promised.
  20. Unbroken
    Though high-minded and well-intentioned – as well as being conceived on an epic scale – there’s something faintly stodgy and safety-first about the endeavour.
  21. Exodus: Gods and Kings
    It is half turkey, half triumph.
  22. Penguins of Madagascar
    Penguins of Madagascar is an injection of sugar direct to the pineal gland and woe betide any parent who tries to get their children to take a nap after seeing it.
  23. American Sniper
    [Clint Eastwood's] gripping, incurious film gives the impression of having not so much been directed as dictated. It stares so fixedly down the rifle sight that it is finally guilty of tunnel vision.
  24. The Gambler
    This spiral of self-imposed despair feels like part three of a trilogy of American financial darkness after Killing Them Softly and The Counsellor. The Gambler isn’t quite so audience-unfriendly, but those looking for a typical Wahlberg thriller might come away disappointed. Others looking for a less sure bet might reap the rewards.
  25. About Elly (2009)
    About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.
  26. Paddington
    Full credit to the film-makers, who manage to map their digital bear against his human co-stars and marry Bond’s antique conceit to a high-concept story.
  27. Night Will Fall
    This is an extraordinary record. But be warned. Once seen, these images cannot be unseen.
  28. The King and the Mockingbird
    It's a richly conceived treat.
  29. Pulp: A Film About Life, Death & Supermarkets
    You can't help thinking he's missed the point of Pulp. Their music denigrated the people as much as it celebrated them. Habicht leaves the city in love with a surface-level reading of Cocker's take on it.
  30. The Rewrite
    Perhaps any screenwriting teacher could explain why romantic comedies such as this frontload it with all the jokes in the first act, and then get progressively sentimental and humourless. This one becomes gooier and squishier until the comedy has entirely gone.
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