The Guardian's Scores

For 6,576 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 2.2 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:
6576 movie reviews
  1. It's fun to watch Whedon pitch his heroes against each other. Child's play, maybe, but entertaining all the same.
  2. Binoche rises above the lubricious material by giving a thoroughly detailed and committed performance as the journalist.
  3. It feels as if you've seen it many times before. Bill Nighy isn't in it, for example, and yet afterwards I had an intense memory of Bill Nighy being in it, the way amputees can feel their toes itching.
  4. Pearce has fun; world-weary in the style of a 15-year-old told one too many times to tidy his room – but shoddy special effects and the surface-level sass of the president's daughter leave this one spinning in low orbit.
  5. What results is an immensely detailed overview of Marley's life and times, from the hillside Jamaican shack where he grew up to the snowy Bavarian clinic where he spent his last weeks in a fruitless attempt to cure the cancer that killed him in 1981, aged 36.
  6. However smart and sophisticated this film is, it may disappoint those who, in their hearts, would still like to be genuinely scared.
  7. One of those agonisingly well-intentioned films whose heart is in the right place, but everything else is wrong.
  8. The film doesn't merit chinstroking: it's stuffed with Troma-style riffs around schlock, gore and human effluvia, bookended by Shallow Grave-like sections full of cynical machinations. The parts barely relate, never mind work together.
  9. With its pale, washed-out colour palette, its eerily slow, almost somnambulist pacing and occasionally bizarre emotional demonstrations, Post Mortem is strangely gripping.
  10. If it's possible for a picture to be at once ideal and imperfect, then Damsels fits the bill.
  11. The slightly slushy tone of celebration rather obtusely fails to engage with the nihilist, pessimist nature of Tatsumi's work. Anyway, an intriguing event.
  12. Nanni Moretti's new film is occasionally amusing, but is also a frustrating and directionless experience.
  13. It's evasive and feeble; Julia Roberts is not a properly funny or satisfying villain, and yet neither is she the interestingly flawed, even sympathetic figure she might have been if the film had kept the all-important question she asks the mirror.
  14. It's not terrible, by any means: just not nearly as funny or cruel as its killer premise suggests.
  15. Dunham, who pads through much of this extremely well-written, often funny and very touching film in the semi-nude, doesn't give a damn about any of it.
  16. It is a sombre, thoughtful, restrained and often powerful piece of work.
  17. This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.
  18. It is effortlessly and unassumingly funny – and terrifically smart.
  19. Bill Nighy and Toby Kebbell liven things up in the supporting cast.
  20. Could Nasheed be the political Prospero to save the island – and the planet? Well, now he is out of power, and the Copenhagen summit was a disappointment. Perhaps his advocacy will help to bring the climate change issue back into political fashion.
  21. This is really very humdrum stuff compared to the electric strangeness of "Intact."
  22. Brutal, bloody and presided over by a portrait of Her Majesty the Queen, the Canadian ice hockey in this movie is a cross between Rollerball and a prison riot: harking back to the robust certainties of Paul Newman's 1977 bonecruncher "Slap Shot."
  23. The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.
  24. The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.
  25. Rachel Weisz performs with enormous intelligence and restraint.
  26. Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.
  27. It's indulgent, but Macdonald's performance is attractive and relaxed.
  28. It's a thriller in which the twists become so absurd that it becomes a kind of caper, but without the humour.
  29. It's a bit sucrose, especially at the beginning, but this traditional, sweet-natured family film will tug on the heartstrings.
  30. There is release at the end of this fine film, but no euphoria; just a sense of having come through a period of evil, the memory of whose darkness will never entirely lift.

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