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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  1. 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.
  4. White Elephant
    For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  5. My Brother the Devil
    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  6. 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.
  7. 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.
  8. Welcome to the Punch
    It runs out of steam, with plot revelations visible from a mile away and a bit of a plausibility gap.
  9. 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.
  10. Let the Bullets Fly
    Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.
  11. 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.
  12. Starbuck
    Almost all the charm of the real story is lost through the contrivances and overacting.
  13. Hunky Dory
    Marc Evans's Hunky Dory is sentimental, sweet-natured and daft as a brush.
  14. Reality
    It's a likable film played with gusto and heart — though fundamentally a little sentimental and predictable.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  20. The Monk
    It is not a story of great depth or passion, but there are intriguing and unsettling moments on its well-crafted surface.
  21. 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.
  22. 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.
  23. The Place Beyond the Pines
    The Place Beyond the Pines is ambitious and epic, perhaps to a fault.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
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