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. Blue Jasmine
    After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
  2. Runner Runner
    This is a lazy, trashy film that barely goes through the motions.
  3. Le Week-End
    For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.
  4. Great Expectations
    A watchable and accessible revival, though not groundbreaking, and not quite matching the story's passionate fear and rapture.
  5. Locke
    Full credit to Hardy and Knight for making a film such as Locke. Low-budget film-makers could learn a lot from their method. And yet – having stripped away all but the bare necessities, having reduced the components to a car and a man – they make a classic error of overcompensation.
  6. How I Live Now
    A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.
  7. Child of God
    Child of God is a shocking tale of backwoods lunacy and one man's descent into hell. Perhaps the most shocking thing about it is that it's really rather good.
    • 67 Metascore
    • 80 Critic Score
    The Armstrong Lie
    Succeeds as a probing look into the mechanics of an epic lie, and because of the emotion at its heart.
  9. Under the Skin
    Under the Skin is perhaps best viewed as an icy parable of love, sex and loneliness.
  10. The Zero Theorem
    The film has a ragged charm, a Tiggerish bounce, and a certain sweet melancholy that bubbles up near the end.
    • 37 Metascore
    • 40 Critic Score
    Are You Here
    You Are Here ultimately suffers from a problem of tone. It wants to be a stoner bromance, a pastoral romcom and an incisive drama about mental illness.
  12. Philomena
    Its main focus is the sparky, shifting relationship between its two protagonists and its trump card the startling chemistry between its two main stars.
  13. Life of Crime
    It gleams with a faintly-tacky, country club sheen, as if it'd been sheep-dipped in essence of 70s and come out feeling peachy.
  14. Parkland
    If the film finally doesn't tell us anything we did not already know, the approach makes a worn-out old tragedy feel supple and urgent.
  15. Night Moves
    This director, in the past, has shown herself to be an ace with the teasing, hanging ending and Night Moves saves the best for last.
  16. Labor Day
    With its frank approach to the basics of human desire, its steady, intense focus on a small-town story which could have come straight from Douglas Sirk, Reitman's fifth feature appears to bear little resemblance the four that went before.
  17. Joe
    Joe also stands as a reminder of what a terrific actor Cage can be when he is able to harness and channel his wilder impulses.
  18. The Invisible Woman
    The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
  19. The Fifth Estate
    This is highly competent catnip for the watercooler crowd.
  20. Fading Gigolo
    Turturro has given Allen his biggest and best on-screen turn in years: the part was written for him and it's full of scope for amiable kvetching and nimble slapstick.
  21. What If
    It's pulled this way and that by a hiddly-fiddly soundtrack, spun senseless by scene after scene of Radcliffe and Kazan trading flirtatious banter.
    • 79 Metascore
    • 80 Critic Score
    In a World...
    A cameo from Geena Davis is particularly tart, and all the better for it.
    • 52 Metascore
    • 60 Critic Score
    White House Down
    This bona-fide big-budget Hollywood flop at least has the good grace to laugh at itself as it rolls out the dingbat-daft action-movie cliches.
  24. The Double
    The Double isn't an original idea. It wasn't even in Dostoyevsky's time. But it's a great story. And Ayoade has produced a brilliant copy.
  25. Devil's Knot
    It reduces a complex and extraordinary case to soap. It makes you care less, for all its heavy-breathing and cheapo coaxing.
  26. Dallas Buyers Club
    [McConaughey] delivers a twitchy, hostile performance on par with anything he's done since he escaped the rom com cul-de-sac.
  27. Begin Again
    The film's sole saving grace is, of course, Ruffalo.
  28. 12 Years a Slave
    Stark, visceral and unrelenting, 12 Years a Slave is not just a great film but a necessary one.
  29. Enough Said
    All in all a comedy that starts out like a pudding made of first world problems ends up warming your heart and that is in no small part down to the strength of its two leads. As a final act, it's a touching one.
  30. August: Osage County
    It's bracing, but it does feel closer to panto than melodrama, more exhausting than illuminating.
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