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. In Secret
    It's imprisoned by its own glibness, grabbing for sensation over emotion, and looking silly whenever it misses.
  2. Run & Jump
    Peake, warmly sketching a woman busy fooling herself that everything will work out, and Forte, as precise as he was in Nebraska, keep it honest, and within touching distance of real poignancy.
  3. Legends of Oz: Dorothy's Return
    Even by the standards of allowance-snatching half-term filler, this is pretty indifferent.
  4. Blended
    It proves very much un film de Sandler: so lazy you feel unconscionably guilty for snorting at the three jokes in its two hours that merit any response.
  5. Aatsinki: The Story of Arctic Cowboys
    It sometimes strays off the beaten track into shapelessness, but Oreck lends individual segments a quiet fascination.
  6. A Million Ways to Die in the West
    Spiritually, it's closer to a mid-range crowd-pleaser such as City Slickers than Blazing Saddles, too enamoured of genre convention to reach for the comic dynamite.
  7. Heaven Is for Real
    Wallace permits some debate as to what this tale represents – miracle? horror show? evidence of declining anaesthesiology standards? – yet that titular conclusion depends entirely on faith: what's on screen peters out.
  8. Mariachi Gringo
    Tom Gustafson's film proves genial to a fault.
  9. The Sacrament
    Ti West's latest feels both more expansive – choppering Vice reporters into a seemingly progressive tropical utopia raises intriguing social themes – and yet a marked disappointment.
  10. I Am Divine
    Schwarz offsets the camp with a sincere appreciation of both the obvious, larger-than-life personality and this performer's oft-overlooked skills.
  11. The Purge: Anarchy
    The franchise is a low-risk work-in-progress, but DeMonaco is improving as a shotmaker.
  12. The Nut Job
    The absence of new or sustainable ideas dooms it to instant mediocrity.
  13. Planes: Fire & Rescue
    The action is colourful, the vistas as organic as pixels will allow and, once it gets past the quickfire editing of the early stages, considered application of 3D heightens the sense of space and glide. Not much magic, but an appreciable level of polish.
  14. Underdogs
    Ping-ponging camera moves temporarily distract from the haphazard structuring and translation.
  15. Dinosaur 13
    If it all feels too anomalous to seal its case against today's big legal and corporate predators, it never lacks for diverting turns and quirks.
  16. Hector and the Search for Happiness
    Whatever enlightenment there is here proves far too easily gained. Keep looking, folks.
  17. Into the Storm
    Its destructive setpieces may loose the odd popcorn kernel on to the multiplex carpet, but it's really just an effects reel: the weather – cloudy wisps turning to massive, fiery hellblasts – is considerably better developed than its quarry. Stick with Twister.
  18. Sin City: A Dame To Kill For
    The weakness is in the material: these are second-string Miller yarns... But the vision remains uncompromising and it dazzles far more than any sequel should.
  19. Million Dollar Arm
    Hamm and Alan Arkin's grouchy scout conclude these deals with unarguable professionalism, but we can spot the manoeuvres required to magic neocolonialist playbook into heartwarming fairytale.
  20. If I Stay
    The smart cast occupy themselves with the dog-eared emotions scattered around the waiting rooms.
  21. Watermark
    It’s not as focused as its predecessor, but its best sequences rehydrate the mind.
  22. The Boxtrolls
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
  23. Wilde Salomé
    Too much chaos ultimately prevails, but the rehearsal sequences at least forsake vapid luvvie-isms for close, instructive study of how to pull the best out of actors and text alike.
  24. Gone Girl
    Gone Girl, finally, may be no more than a storm in a teacup. But what an elegant, bone-china teacup this is. And what a fearsome force-10 gale we have brewing inside.
  25. Red Army
    Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.
  26. The Maze Runner
    The Maze Runner is not a good movie, but it wins points for omitting much of what makes typical teen films excruciating.
  27. While We're Young
    An almost perfect 90-minute hit of confident and inspired comedic commentary.
  28. The Theory of Everything
    It's a film to leave you reeling but cheered, too. It's about battling love, as well as illness. A universal story, extracted from a unique one.
  29. The Riot Club
    The Riot Club hands its audience a ticket, as well as a free pass to pour scorn over proceedings. That's a double-bill which should prove pretty irresistible.
  30. A Pigeon Sat on a Branch Reflecting on Existence
    What a bold, beguiling and utterly unclassifiable director Andersson is. He thinks life is a comedy and feels it’s a tragedy, and is able to wrestle these conflicting impulses into a gorgeous, deadpan deadlock.
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