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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    • 67 Metascore
    • 60 Critic Score
    Crystal Fairy & The Magical Cactus
    Crystal Fairy is an acid trip where the frequent bonhomie is doused by sobering introspection.
  2. Austenland
    It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.
  3. Sightseers
    Sightseers is funny and well made, but Wheatley could be suffering from difficult third album syndrome: this is not as mysterious and interesting as Kill List.
  4. Into the White
    It's all a bit tame, predictable and muted; the inevitable revelation of German decency seems contrived and there's an outrageous plot cop-out towards the end. It's a reminder of how David Lean exploited this kind of drama with more potency in "The Bridge on the River Kwai."
  5. Erased
    This semi-efficient, Belgian-set timewaster fuses Taken with Unknown, and almost works.
  6. Antiviral
    Brandon Cronenberg's movie is made with some technical skill and focus, but it is agonisingly self-regarding and tiresome.
  7. Midnight's Children
    The movie's pace flags a good deal once Bangladesh has been born in 1971, and the adult characters are much less interesting than their child counterparts, but there's enough here to entertain – and to send audiences back to the book.
  8. 6 Souls
    Is it a psychological thriller or a giddy horror of the evil-in-them-there-hills persuasion? This split-personality number can't quite decide.
  9. Dog Pound
    Perhaps this tells us nothing new about life on the inside in the US (there are rapes, riots and suicides), but it at least handles its brief with pace and precision.
  10. Mental
    It's always a pleasure to see Collette, a performer who always cranks up the energy, and yet here, as so often, she gives the impression of a ferocious screen intelligence somehow not being used to the full.
  11. The Croods
    It's amiable enough, but it makes "The Flintstones" look like it was scripted by Karl Popper.
  12. Trance
    Trance is a disappointment: a strident, chaotic, frantically overcooked film with an almost deafeningly intrusive ambient soundtrack. There is some embarrassing, eyeball-swivelling acting from the male leads, and the elegance of the film's premise is quite obliterated by its crude and misjudged violence.
    • 76 Metascore
    • 60 Critic Score
    We Steal Secrets: The Story of WikiLeaks
    The latest documentary to roll out of the Alex Gibney factory looks at the life and times of the crusading website and explores related themes such as freedom of information and the moral responsibility of activism, but is far less illuminating about its silver-haired standard-bearer.
    • 44 Metascore
    • 40 Critic Score
    Jobs
    This is far from the bomb some would have envisaged, but neither is it the character illumination one would wish for. Jobs appears so consumed by his work here that little else mattered in his life. That may be true, but we're left none the wiser as to what made the man tick, beyond what we already know.
  15. White Elephant
    For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  16. My Brother the Devil
    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  17. The Act of Killing
    It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
  18. Red Dawn
    This has to be the year's most pointless remake: a boring and badly acted reboot of John Milius's gung-ho red-scare actioner from 1984.
  19. Welcome to the Punch
    It runs out of steam, with plot revelations visible from a mile away and a bit of a plausibility gap.
  20. The Incredible Burt Wonderstone
    As ever with comedies like this, all the really funny stuff is in the opening 20 minutes. But it's entertaining stuff, with a scene-stealer from Alan Arkin.
  21. Let the Bullets Fly
    Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.
  22. Stitches
    There are some gruesomely ingenious moments in this gleefully yucky horror-comedy from director Conor McMahon, starring the standup comic Ross Noble. But I have to say it somehow wasn't funny or scary enough – though I do have to admit it is always more than revolting enough.
  23. Starbuck
    Almost all the charm of the real story is lost through the contrivances and overacting.
  24. Hunky Dory
    Marc Evans's Hunky Dory is sentimental, sweet-natured and daft as a brush.
  25. Reality
    It's a likable film played with gusto and heart — though fundamentally a little sentimental and predictable.
  26. Oz the Great and Powerful
    Whether you like this movie may depend very materially on how you respond to Franco himself, but I found his casting very astute.
  27. What Maisie Knew
    The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.
  28. Much Ado About Nothing
    But Whedon's key coup is in simply directing a very good version of the play. He's got a keen ear for comedy, a no-nonsense approach to ditching the gags that don't work, a deft hand for slapstick and an eagerness to use it.
  29. Stories We Tell
    Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
    • 74 Metascore
    • 100 Critic Score
    Ain't Them Bodies Saints
    The film is so singular, it's hard to place. At times, its elegiac visual quality evokes Terrence Malick, but Lowery's scripting is tighter and more accessible. His is truly a fresh voice, exhilarating to hear.
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