The Guardian's Scores

Select another publication »
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
view
per page
  1. Pawn Sacrifice
    Maguire flails around obligingly, happy to trade amiability for a decent fist at capturing the difficult, prickly Fischer. But he can’t quite carry it off, and the way the script dances around the edge of his illness, exploring the surface symptoms without trying for deeper psychology, leaves the actor exposed.
  2. Pasolini
    It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  3. Nightcrawler
    From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.
  4. Men, Women & Children
    A huge improvement on the muddled melodrama of Labor Day, Men, Women and Children is still a flawed Jason Reitman film. Its scope is too big, his ambitions too high.
  5. Madame Bovary
    The presence of Sophie Barthes behind the camera does not amplify sympathy for our heroine. Rather, the opposite: if anything Barthes seems less in her allure, less tolerant of her tiffs, full-throttle with the vanity and the selfishness.
  6. Love & Mercy
    It’s creative and experimental in just the right spirit, though with an asymmetric flaw. The film is a kind of diptych in which one of the panels is more fully achieved than the other.
  7. A Little Chaos
    It has to be said, the performances are excellent. Winslet manages emotional honesty within anachronistic confines, and Schoenaerts escapes with dignity.
  8. Hungry Hearts
    It is a tense, claustrophobic nightmare, played with sincerity and force, particularly by Adam Driver. But a strident orchestral score keeps intruding, dark chords telling us how scared we ought to be, and it is as if Costanzo is not content with an ultra-real relationship drama, and wants his film to be some kind of heavy-handed horror-thriller too.
  9. Goodnight Mommy
    Perhaps a more unassuming genre director would have tightened this movie’s cables a little, so that it had more tension and less revulsion. At all events, it delivers some nasty shocks.
  10. Good Kill
    Niccol creates an atmosphere that is airless and dull, an unusual tone for a modern war film, but one that fits the subject matter perfectly.
  11. Eden
    Hansen-Løve has an acute eye for the details of Paul’s world. Glamour is twinned with mundanity, beauty with boorishness and friendship with selfishness, while artistic endeavour is undercut by self-indulgence.
  12. The Duke of Burgundy
    The Duke of Burgundy will have its detractors. But this is not just a filthy movie. It's a considerable work of art, and one that touches on a rarely discussed side of human sexuality completely free of judgement.
  13. The Cut
    It’s a big, ambitious, continent-spanning piece of work, concerned to show the Armenian horror was absorbed into the bloodstream of immigrant-descended population in the United States, but it is a little simplistic emotionally.
  14. Cake
    Aniston’s drab-act is diverting, but it’s not enough to sweeten a character who is one hell of a pill.
  15. The Hole
    With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.
  16. Believe
    Cox's guardedly avuncular turn might have sustained a more rigorous endeavour, but the attempt to evoke the trauma of the Munich air disaster is rendered wholly insupportable by the trifling hooey around it.
  17. This Is Where I Leave You
    This is Where I Leave You is totally aimble, utterly unmoving filler given a major shot in the arm by its cast, people it’s simply a pleasure to watch, even with the creeping feeling they’re better than this.
    • 76 Metascore
    • 60 Critic Score
    The Guest
    It all escalates into an arch, knowing throwback to 80s horror-thrillers that's muddled in parts but never less than entertaining.
  19. Wild
    Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.
  20. The Imitation Game
    What Cumberbatch delivers is an impressively rounded character study of someone variously kind, prickly, aggressive, awkward and supremely confident. But it's almost too nuanced. Accuracy isn't all, but fumbling in the dark isn't always fun.
  21. The Equalizer
    Denzel is so cool, so made of pure nails he can make even the most preposterous action scene feel thrilling. But Denzel's strength is also his weakness.
  22. Think Like a Man Too
    Put bluntly, Tim Story's film wears you down until you relent and say, yes, I like these people and it's fun to watch them all have such a good time.
  23. And So It Goes
    Embarrassing for everyone involved not because of any squeamish subject matter – quite the contrary, seeing retirement-age characters are refreshing – but because the story structure is so fake and so plodding.
  24. Finding Fela!
    Finding Fela does an exemplary job of explaining, in musical terms, what made Fela standout, a simple enough step that most music documentaries ignore.
  25. Teenage Mutant Ninja Turtles
    Young kids will find the second, more action-heavy half of the film entertaining, but everyone else will want to crawl into their shell.
  26. Life After Beth
    Life After Beth, a frustrating affair due to its waste of resources, feels rushed and under-rehearsed. It is a style of film-making that hopes it can glide its way into your good graces on ad-hoc performance flourishes, a wall-to-wall audio mix and editing patches. One soon recognizes this all a cover for one key issue: a lack of original ideas.
  27. The Giver
    By the end of the movie few won’t be rolling their eyes or checking their watch, but there’s enough that’s fundamentally good in the meat of film not to wholly reject what The Giver is giving us.
  28. The November Man
    There’s no way around this: The November Man is asinine. It is not without its pleasures – if you like seeing people get hit in the face with shovels, that is – but it might be the most irresponsibly dumb spy thriller I’ve seen in some time.
  29. St. Vincent
    There is a contrivance to both story and script that grates, rubs up against Murray’s appeal as a loose cannon.
  30. The Judge
    The Judge is a timeless film, in that it could have been made at almost any point over the past 80 years: rote plot, functional support, well-signalled twists. It’s a two-seater star vehicle offering little legroom for other passengers.
Page:

Top Trailers

See all »
See all trailers »