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. Goodbye to Language 3D
    It is an uncompromising and exasperating 70-minute cine-collage placed before us on a take-it-or-leave-it basis, composed of fragments of ideas, shards of disillusionment.
  2. Mommy
    Dolan's energy and attack is thrilling; his movie is often brilliant and very funny in ways which smash through the barriers marked Incorrect and Inappropriate.
  3. Winter Sleep
    In fits and starts, this is a stunning picture. At its best, Winter Sleep shows Ceylan to be as psychologically rigorous, in his way, as Ingmar Bergman before him.
  4. Coming Home
    A sweet yet suspect romantic drama.
  5. The Rover
    Michôd creates a good deal of ambient menace in The Rover; Pearce has a simmering presence. But I felt there was a bit of muddle, and the clean lines of conflict and tension had been blurred: the dystopian future setting doesn't add much and hasn't been very rigorously imagined.
  6. Foxcatcher
    It is a gripping film: horrible, scary and desperately sad.
  7. Wrinkles
    This movie has the same desolate quality as Philip Larkin's poem The Building, and yet it is tender and lovable, too.
  8. Welcome to New York
    Welcome to New York proves thoroughly engrossing. Here is a work of ragged glory; dirty and galvanic. [Unrated Version]
  9. X-Men: Days of Future Past
    Non-devotees might well give up, but director Bryan Singer always has a neat special effect, a well-timed gag or an action set piece around the corner, whipping up the action towards a symphonic climax.
  10. Half of a Yellow Sun
    the film is often stately and sluggish with some very daytime-soapy moments of emotional revelation.
  11. Godzilla
    While many people might want to go to the cinema to see Godzilla, what they get instead is a load of homosapiens desperately trying to put a human face on the drama.
  12. The Wedding Video
    We get one or two outrageous sight gags and massive "getting progressively drunk" montages, and some neatly managed comedy on the laugh-with/laugh-at borderline.
  13. Age of Uprising: The Legend of Michael Kohlhaas
    Perhaps as a parable, simplicity is what is required, although sometimes the film does not rise to tragedy. Visually, Age of Uprising is classy and plausible, but delivers less than it promises.
    • 52 Metascore
    • 60 Critic Score
    Ping Pong Summer
    It's gawky and awkward, but just like Rad's breakdancing worm, this one gets better as it goes along.
  15. The Other Woman
    The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  16. The Bachelor Weekend
    One or two set pieces don't quite have the requisite heft, yet the movie clicks whenever co-writer/director John Butler stops to admire the scenery.
  17. Last Passenger
    Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.
  18. The Quiet Ones
    The arrestingly fierce Cooke, in particular, is surely a star in the making.
  19. Obvious Child
    A glorious jumping bean comedy that moves from the profane to the poignant in the blink of an eye.
  20. Third Person
    Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
    • 42 Metascore
    • 40 Critic Score
    Transcendence
    Transcendence suffers from terrible timing, arriving a few months after Spike Jonze charmed audiences with his semi-futuristic love story "Her," which flipped a century’s worth of technophobia on its back.
  22. The Lunchbox
    The Lunchbox is perfectly handled and beautifully acted; a quiet storm of banked emotions.
  23. The Players
    If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.
  24. The Love Punch
    Sometimes it works - Brosnan and Thompson are sedately charming, Spall and Imrie are naturally funny together - but there's only so much humour you can squeeze out of Pierce's dicky prostate.
    • 59 Metascore
    • 60 Critic Score
    Magic Magic
    The script unsettles, but never scares, so it doesn't work as a horror film. It's also not a convincing chronicle of deteriorating mental illness.
  26. The Amazing Spider-Man 2
    Webb's film is bold and bright and possesses charm in abundance. It swings into the future and carries the audience with it.
  27. Rio 2
    It's hard to ascribe much art or wit to a franchise that retains the services of will.i.am as comic relief – and a thoroughly inorganic talent-show subplot feels like another attempt to groom youngsters for life in the Cowell jungle.
  28. Young & Beautiful
    François Ozon's new film is a luxurious fantasy of a young girl's flowering: a very French and very male fantasy, like the pilot episode of the world's classiest soap opera... But this is well-crafted and well-acted.
  29. Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
  30. Noah
    Impressive as much of his film is, however, Aronofsky never quite solves the main challenge of the semi-literal biblical adaptation: what is so economical, and beautifully expressed, on the page can become a heavy, lumbering beast when translated into conventional narrative.
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