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. The Monk
    It is not a story of great depth or passion, but there are intriguing and unsettling moments on its well-crafted surface.
  2. The We and the I
    Gondry's argument – that pack mentality crushes individual expression – follows a similarly predictable route, but there's enough of his signature playfulness (especially in the use of mobile-phone footage to present flashbacks) to keep the journey entertaining.
  3. At Any Price
    Some of the acting isn't bad, but the story is messy and unsatisfying with a plot-hole you could drive a dozen combine harvesters through, the ending is an outrageous fudge and the lead performance from Dennis Quaid is strange to say the least.
  4. The Place Beyond the Pines
    The Place Beyond the Pines is ambitious and epic, perhaps to a fault.
  5. The Sapphires
    It's an amiable film with some great musical moments and the classic "growing success" montage showing them on the road in south-east Asia. On music, identity and race, the film has a big beating heart in the right place.
  6. To the Wonder
    At its best, Malick's cinematic rhapsody is glorious; during his uncertain moments, he appears to be repeating himself. But what delight there is in this film.
  7. The Angels' Share
    Ken Loach's latest collaboration with screenwriter Paul Laverty is warm, funny and good-natured. It's a freewheeling social-realist caper – unworldly and at times almost childlike.
  8. Hansel and Gretel: Witch Hunters
    This movie is a case in point. It's a film which is so demeaningly bad, so utterly without merit, that there is a kind of purity in its awfulness. There is a Zen mastery in producing a film which nullifies the concept of pleasure.
  9. Caesar Must Die
    The most powerful thing about the film is the "audition" scene at the beginning in which the prisoners have to introduce themselves in two ways: sorrowingly, and then angrily. It is a brilliant sequence, and the rest of the film doesn't quite match it.
  10. Safe Haven
    As ever with a Sparks story, the action takes place in a sugary vision of small-town America that does not correspond with the real world at any point.
    • 73 Metascore
    • 80 Critic Score
    Arbitrage
    You've seen it all before, but lead Richard Gere drenches the proceedings in the old razzle-dazzle.
  12. Electrick Children
    Rebecca Thomas's gauzy debut about a 15-year-old Mormon who believes she's had an immaculate conception after hearing a cover of Blondie's Hanging on the Telephone is so deftly done it's three parts enchantment to one part irritation.
  13. Day of the Falcon
    There's undoubtedly a good film to be made out of the scramble for oil in the Arabian desert in the 1920s – but this, for all its herculean efforts, is not it.
    • 82 Metascore
    • 80 Critic Score
    The Spectacular Now
    Ponsoldt elicits remarkably strong performances from his two young leads, who display a depth of feeling that's breathtaking in its simplicity and honest. There's an inherent chemistry here that's both disarming and refreshing.
  15. The Way, Way Back
    There are plenty of comic moments...But The Way, Way Back is very rarely laugh-out-loud funny. Unfortunately, neither is it very involving.
  16. Mud
    Mud is an engaging and good-looking picture with two bright leading performances from Sheridan and Lofland.
  17. Ginger & Rosa
    This is a teenage movie that could in other hands have been precious; instead it has delicacy and intelligence.
    • 58 Metascore
    • 80 Critic Score
    Stoker
    Literary references and symbolism abound in Stoker. You can get tied up trying to figure out who is what. That is the idea. All the clues are there. You just have to look closely.
  19. Lore
    Australian director Cate Shortland's drama is overflowing with such poetic visual touches, conjuring up a fairytale landscape of long shadows, wafting curtains and waving fronds.
  20. Mama
    It has been converted into a proficient, machine-tooled horror flick, stuffed full of shocks and buttressed with back-story. Mama got so flabby the second time around.
  21. Beyond the Hills
    Enthralling, mysterious and intimately upsetting – a terrible demonstration of how poverty creates a space which irrational fear must fill.
  22. Frances Ha
    Gerwig's performance is full of depth and nuance; self-conscious without being mawkish, clever behind the kook.
  23. Spring Breakers
    Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.
  24. Beautiful Creatures
    The plot is wildly silly and shot full of holes, maundering endlessly on its slow trawl towards the climax. But the cast at least play it like they mean it, and keep it honest for a spell.
  25. One Life
    Quite a spectacle, and a nice family outing.
  26. A Good Day to Die Hard
    I don't think it knows where it's going. I'm not even sure it cares.
  27. Room 237
    [Room 237] raises very interesting ideas about how we view a film, about what happens if we take the act of viewing down to a deeper, molecular level, and about how a movie's significance and effect need not be those intentionally willed by the director.
  28. Warm Bodies
    Zombie-ism in the movies is traditionally inspected for metaphorical qualities. Here it could simply be that we males are emotionally dead … until love revives us.
  29. Wreck-It Ralph
    For me, it never came to life.
  30. A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    The film's depiction of the ugliness and strangeness of his self-hating LA celeb lifestyle is disturbing. Not just for Python fans.
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