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. Fanny
    Auteuil has fashioned hidebound museum pieces that expand the backdrop with sun-dappled glimpses of port activity, while generally resisting any notes of modernity or change of emphasis. What modicum of cosy Sunday-afternoon pleasure they provide stems from the performers.
  2. Archipelago
    There is something exacting and audacious in it, something superbly controlled in its composition and technique. The clarity of her film-making diction is a marvel – even, or perhaps especially, when the nature of the story itself remains murkily unrevealed.
  3. Unrelated
    As if from nowhere, a first-time British film-maker has appeared with a tremendously accomplished, subtle and supremely confident feature, authorially distinctive and positively dripping with technique.
  4. Postman Pat: The Movie
    I'd never want to stand in the way of artists pushing things, but messing with Postman Pat is probably a step too far.
  5. Da Sweet Blood of Jesus
    Da Sweet Blood of Jesus isn't entirely successful – and certainly offers few new insights into the nature of addiction – but it remains a welcome change of pace.
  6. Me and You
    A slight but engaging two-hander.
  7. Yves Saint Laurent
    The film's purpose is the reverent mystification of everything that avowedly makes YSL special.
  8. Snowpiercer
    The way the allegory works out is not exactly subtle or unexpected, but is strangely moving, despite the gruesomeness that has gone before. All in all, a treat.
  9. Fonzy
    Watch all of them back to back and it's the tiny details that start to become fascinating, like the way Fonzy's version of the climax is fractionally less sentimental, how lead Garcia is more sympathetic than Vaughn but less engaging than Starbuck's schlubby Patrick Huard.
  10. The Young and Prodigious T.S. Spivet
    The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
  11. Exhibition
    Exhibition is challenging, sensual, brilliant film-making.
  12. 22 Jump Street
    It certainly provides that rarest of things: relaxing enjoyment. In all its uncompromising goofiness, 22 Jump Street brings onstream a sugar-rush of entertainment.
    • 69 Metascore
    • 80 Critic Score
    The Fault in Our Stars
    The film works on only one level, but so completely on that level that the rest doesn’t seem to matter: Woodley and Egort have terrific chemistry.
  14. Jimi: All Is by My Side
    The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.
  15. Willow Creek
    As a horror film using that now-tired device, "found footage" supposedly shot by the characters themselves, it's quite passable.
  16. Edge of Tomorrow
    It is basically deadly serious, and after some moderate knockaboutfun, settles into something pretty dull. Where's the edge?
  17. The Blue Room
    Amalric's handling is cool, studied and perhaps a little self-conscious. But he does a good job of showing how adultery is a noose that tightens at the throat even before an actual crime is committed - at which point the film grows altogether less interesting.
  18. White God
    White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
  19. Grace of Monaco
    It is a film so awe-inspiringly wooden that it is basically a fire-risk. The cringe-factor is ionospherically high.
  20. Lost River
    It is colossally indulgent, shapeless, often fantastically and unthinkingly offensive and at all times insufferably conceited. Yet it is frustrating precisely because it sometimes isn't so bad. There is something in there somewhere - striking images and moments, and the crazy energy of a folie de grandeur.
  21. Timbuktu
    Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
  22. Still the Water
    Kawase's film is sometimes beautiful and moving but I couldn't help occasionally finding it a little contrived and self-conscious.
  23. The Search
    It could be that Hazanavicius wanted, once again, to channel some of that Old Hollywood big-hearted sincerity — just as he did with his silent-movie triumph The Artist. But the outcome here is naive and misjudged.
  24. The Homesman
    Tommy Lee Jones shows some true storytelling grit in this superbly watchable frontier western; he has a muscular and confident command of narrative, driving the plot onward with a real whip-crack, and easily handles the tonal swings between brutal shock, black comedy and sentimentality.
  25. Clouds of Sils Maria
    If Assayas's film finally falls just shy of being great art itself, it is at least handsomely staged and played with conviction.
  26. Saint Laurent
    Saint Laurent is a well made but bafflingly airless and claustrophobic film.
  27. Two Days, One Night
    A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  28. The Captive
    As a straight procedural, this might have worked if Egoyan did not try the audience's patience and insult their intelligence with how utterly implausible his drama is. But line by line, scene by scene, it is offensively preposterous and crass.
  29. Maps to the Stars
    The status-anxiety, fame-vertigo, sexual satiety and that all-encompassing fear of failure which poisons every triumph are displayed here with an icy new connoisseurship, a kind of extremism which faces down the traditional objection that films like this are secretly infatuated with their subject.
  30. Mr. Turner
    What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
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