The Guardian's Scores

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For 6,656 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 2.1 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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    • 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.
  2. The Other Woman
    The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  3. 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.
  4. Last Passenger
    Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.
  5. The Quiet Ones
    The arrestingly fierce Cooke, in particular, is surely a star in the making.
  6. Obvious Child
    A glorious jumping bean comedy that moves from the profane to the poignant in the blink of an eye.
  7. 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.
  9. The Lunchbox
    The Lunchbox is perfectly handled and beautifully acted; a quiet storm of banked emotions.
  10. The Players
    If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.
  11. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Muppets Most Wanted
    A wasted opportunity.
    • 48 Metascore
    • 40 Critic Score
    Divergent
    How Orwellian is college? Very, if Divergent is to be believed.
  20. 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.
  21. Veronica Mars
    Proves more footnote than fresh start.
  22. Need For Speed
    Subtle it isn't. But the entertainment rev counter more or less keeps turning over.
  23. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
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