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. 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.
  2. Muppets Most Wanted
    A wasted opportunity.
    • 48 Metascore
    • 40 Critic Score
    Divergent
    How Orwellian is college? Very, if Divergent is to be believed.
  4. Captain America: The Winter Soldier
    In the first movie, an injection transformed wimpy Steve Rogers into strapping Captain America; similarly, this sequel gives the flagging comic-book movie an adrenaline shot of relevance. You've got to hand it to them.
  5. Veronica Mars
    Proves more footnote than fresh start.
  6. Need For Speed
    Subtle it isn't. But the entertainment rev counter more or less keeps turning over.
  7. Frank
    For a film that champions talent that takes risks, Frank can sometimes feel a little too conventional. The real Sidebottom's wayward genius would be a hard fit for any story arc, but Frank does a good job of dipping into surrealism and pop in equal measure.
    • 59 Metascore
    • 40 Critic Score
    Hateship Loveship
    For most of its length, in fact, the film seems to boil beneath its quiet surface like a Munro tale, and indeed like Joanna herself. Wiig carries this apparently unresolved tension in physical form: a wonderfully mannered performance of short steps and furious scrubbing and standing defensively behind chairs.
  9. Suzanne
    The brilliance of Quillévéré's direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them.
  10. Himizu
    Sono retains his go-for-the-throat approach, but the violence here somehow connects with the brutal economic conditions, and he fosters very tender, affecting performances from Shôta Sometani and Fumi Nikaidô as his crushed young lovers.
  11. 300: Rise of an Empire
    It really is pretty dull, though, with the same moments of campy silliness: the same frowning gym bunnies with the same digitally enhanced abs.
  12. Guilty of Romance
    The pungent, ponderous final chapter of Sono's "Hate" trilogy (following Love Exposure and Cold Fish) bows out with lots of bangs and plenty of whimper.
  13. Neighbors
    In its current state, Neighbors is filthy, nasty and a bit too sloppy. But it’ll scrub up lovely.
    • 56 Metascore
    • 80 Critic Score
    River of Fundament
    For all its abstruse content and excruciating length, the film has both the ambition and a sufficient amount of breathtaking cinematography to make even the boldest claims it makes for itself seem valid.
  15. The Pirate Fairy
    Business concerns sit close to the surface throughout, unmasked by much in the way of artistry.
    • 56 Metascore
    • 60 Critic Score
    Non-Stop
    Non-stop is the flimsiest of black box recorders, by contrast, that never threatens to make even intermittent sense, but it hangs together on the bulky shoulders of its star.
  17. Cuban Fury
    This comedy never quite relaxes or convinces or comes together, despite a blue-chip pedigree and a great cast.
  18. Her
    I wished I liked it more. It is engagingly self-aware and excruciatingly self-conscious, wearing its hipness on its sleeve; it's ingenious and yet remarkably contrived. The film seems very new, but the sentimental ending is as old as the hills. There are some great moments.
  19. The LEGO Movie
    An unexpected joy.
  20. '71
    It's a film that holds you in a vice-like grip throughout; only wavering towards the end with a faintly preposterous climactic shootout.
  21. A Long Way Down
    A genial, lightweight farce, which largely approximates Hornby's distinctively bittersweet tone.
  22. Mr. Peabody & Sherman
    It's a headspinningly wacky premise, and it takes a little while for the audience to get up to speed, but once this is achieved, there's an awful lot of unexpected fun to be had, boasting zany adventures with various historical figures.
  23. The Grand Budapest Hotel
    With this film, Anderson has built a thoroughly likable vision of a prewar Europe – no more real, perhaps, than the kind of Viennese light-operetta that sustained much of 1930s Hollywood – but a distinctive, attractive proposition all the same. It's a nimblefooted, witty piece, but one also imbued with a premonitory sadness at the coming conflagration.
  24. RoboCop
    A deafening, boring action pile-up that is more Call of Duty than Robocop.
  25. That Awkward Moment
    In the main, it's the usual story – much more rom than com.
  26. May I Kill U?
    All the material about social media looks forced and behind the curve, and nothing about the movie is really convincing or entertaining on any level, making it valueless as drama or satire.
  27. Mitt
    How ironic to realise that the greatest Mitt Romney campaign ad should arrive too late to save him.
  28. White Bird in a Blizzard
    Nothing really adds up to much, past a solid performance from Woodley and the energetic - if out-of-place - turn from Green.
  29. Song One
    Writer-director Kate Barker-Froyland's debut feature is a mournful number, held back by an uncertain performance by Flynn and an alienating reverence for the restorative power of middling indie-folk.
  30. Infinitely Polar Bear
    Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.
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