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. American Hustle
    It is an intriguing confection of a movie, announcing its influences candidly, but exerting its originality too.
  2. Cold Comes the Night
    Even Cranston looks to be on auto-pilot here: he comes stomping through the action with a perma-scowl that suggests that his break from playing Walter White is little more than a busman's holiday.
    • 49 Metascore
    • 60 Critic Score
    Oldboy
    Oldboy is lively but numb — checked out, as if Lee were directing it following a period of intense convalescence.
  4. Dirty Wars
    The movie has rather silly, Bourne-style thriller graphics, which are unnecessary: it has an important story to tell.
  5. Free Birds
    Enjoyable, with some funny lines.
  6. Leviathan
    Not an easy watch, and something in which you must make an investment of attention – but a fascinating piece of work.
    • 75 Metascore
    • 80 Critic Score
    Frozen
    Frozen hews to real, recognisable plumb-lines and casts a lingering spell.
  8. Flu
    Coughs and sneezes do indeed spread diseases in this amusingly feverish thriller, a Korean attempt to take back some of those lurgies let loose by Soderbergh's colder-blooded "Contagion."
  9. The Family
    Robert De Niro does further damage to a reputation much battered by "The Big Wedding."
  10. Anton Corbijn Inside Out
    At times it looks like a parade of celebs, but the film comes belatedly to the point when it discusses Corbijn's parents, particularly his late father, whose approval Anton sought but perhaps never quite got.
  11. In Fear
    Lovering coolly sticks to a rule often disregarded by horror movies looking for an instant scare: the weird, tense build-up is just as disturbing as the reveal.
  12. Dom Hemingway
    Everyone is trying way too hard and Dom's final speech is toe-curlingly misjudged and charmless.
    • 59 Metascore
    • 60 Critic Score
    The Best Man Holiday
    The Best Man Holiday takes advantage of the actors' pre-existing chemistry to add zing to standard tropes of midlife crisis and melodrama.
  14. Weekend of a Champion
    The movie has some real archival value and the simple juxtaposition of Polanski and Stewart – the oddest couple in Cannes, surely – has a surreal impact. But I wonder if there isn't something a little bit placid and self-satisfied about the film, which is paced remarkably slowly, given the subject matter.
  15. Everyday
    A valuable, meticulously observed and wonderfully acted social-realist feature about a family under pressure.
  16. The Hunger Games: Catching Fire
    What lets the movie down is its heart, or lack thereof. The reprise of the Games introduces new adversaries (and some allies) but has exactly the same dynamic as in the first movie.
  17. How to Survive a Plague
    As activist Larry Kramer remarked, the movement had "its good cops and its bad cops", and there is a remarkable, angry, passionate funeral speech from campaigner Bob Rafsky that helped mobilise Act Up and awaken America's conscience.
  18. Love Tomorrow
    Frankly, the performances and line-readings are uneven. The couple's journey through night-time London is interesting: both have a painful past that they are at first reluctant to discuss, especially Maya, but these disclosures are not dramatically developed in any really satisfying way.
  19. Pandora's Promise
    This film certainly chops up a few sacred cows. Could it be that the anti-wind brigade will have to make common cause with climate change scientists?
  20. Paradise: Hope
    The love story – and it can be called that – between the doctor and Melanie is presented with candour and tenderness. There is a new humanity to Seidl's work; it could be his best film so far.
  21. Milius
    Fantasy invigorates reality in this fond retrospective of the director who embodied the renegade heart of 70s Hollywood.
  22. A Touch of Sin
    This is a bitter, jagged, disaffected drama, pessimistic about China, pessimistic about the whole world. One characters asks another if he ever feels like travelling abroad. "Why would I?" he replies. "Everywhere is broke. Foreigners come here now." Jia Zhang-ke's movie gives us a brutal unwelcome.
    • 48 Metascore
    • 60 Critic Score
    Last Vegas
    Last Vegas is a good-natured bimbo of a movie, it'll do just about anything to please you, though luckily that includes delivering the 20 big laughs you feel you're owed (unlike The Hangovers), and gently jerking a tear or two. You enjoy it in spite of yourself.
  24. Cutie and the Boxer
    Alternately rueful and whimsical documentary.
  25. Drinking Buddies
    It's an intriguing and distinctive story, soberly told.
  26. Gloria
    Gloria is a sad, painful romantic story.
  27. Child's Pose
    Calin Peter Netzer's Child's Pose is a gripping new drama from Romania and another demonstration of how that country's new wave is developing a distinctive kind of real-time slice-of-life cinema with characterisation in extreme, pitiless closeup.
  28. Short Term 12
    There's a too-cute-to-be-true ending to this US indie movie by the much-acclaimed young director Destin Cretton; I couldn't buy it, and found myself wondering if I had kept the receipt for the rest of the film too.
  29. Faust
    This Faust is part bad dream, part music-less opera: sometimes muted and numb, though with hallucinatory flashes of fear.
    • 59 Metascore
    • 60 Critic Score
    Running from Crazy
    The only new titbit of information for Hemingway-philes is that none of his grandchildren read his books.
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