The Guardian's Scores

For 6,577 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:
6577 movie reviews
  1. It’s a powerful tale of human frailty.
    • 84 Metascore
    • 100 Critic Score
    Allen's best film for some time. As an examination of middle-aged, middle-class Manhattan mores, in fact, it is well nigh unbeatable. [22 Oct 1992, p.6]
    • The Guardian
  2. This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.
  3. Quite simply, I just defy anyone with red blood in their veins not to respond to the crazy bravura of Tarantino’s film-making, not to be bounced around the auditorium at the moment-by-moment enjoyment that this movie delivers.
  4. A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.
  5. There’s a terrific charm and sweetness in this debut from Iraqi film-maker Hasan Hadi.
    • 84 Metascore
    • 70 Critic Score
    This is a noble attempt to shed light on a woman's inner struggle for existence. [02 Jul 2011, p.43]
    • The Guardian
  6. For many, the movie could as well do without the supernatural element, and I admit I’m one of them; I’d prefer to see a real story with real jeopardy work itself out. But there is energy and comic-book brashness
  7. [A] sombre, thorough, intelligent and informative documentary.
  8. A piercingly emotional drama, acted with natural flair.
  9. Her film reaches the audience-friendly highs of a studio comedy while retaining an indie sensibility, both in its visuals and its tone, and coupled with the script’s rooted awareness of the moment we’re now in, it feels fresh, a film that will be rewatched and quoted, held on a pedestal by those who understand its necessity.
  10. John Huston's hellfire burlesque is one of the great lost films of the 1970s and a movie to stand alongside his Maltese Falcon or The Treasure of the Sierra Madre.
  11. Boyega carries the film with a compelling authority of his own.
  12. Part of the film’s genius is in how the images are put together, sometimes to absurd effect, at other times unnervingly.
  13. This, the film says, is what it really feels like to be on the receiving end of the law in a case like this: a calm, professional, technocratic but relentless display of overwhelming power.
  14. This film has what its title implies: a heartbeat. It is full of cinematic life.
  15. Sirāt is a path to nowhere, an improvised spectacle in the Sahara; it is very impressive in the opening 10 minutes but valueless as it proceeds, and a pointless mirage of unearned emotion.
  16. The film may not be perfect, but its courage – and relevance – are beyond doubt.
  17. The ending of this film does not entirely measure up to the standard of tough realism set in the rest of the drama, but what a great performance from Riseborough.
  18. Although the story unfolds at a steady pace over two hours, the filmmaking is sufficiently elegant and metronomically efficient as to make every minute gripping, especially after the tragic twist halfway through the story.
  19. Here is the bruised-plum role that put Jack Nicholson into the biggest of big leagues.
  20. Jimmy Ellis’s story really is stranger than fiction.
  21. This is a thoroughly engrossing and densely textured drama, showing Farhadi's cool skill in dissecting the Iranian middle classes and the unhappiness of marriage.
    • 84 Metascore
    • 90 Critic Score
    Despite the twists, turns and exceptionally complex detail of the Watergate scandal, All the President’s Men manages to make it both comprehensible and watchable – with a few flashy fictional touches to gussy up the facts.
    • 84 Metascore
    • 100 Critic Score
    Probably the funniest mobster movie ever...A sublime meld of black satire, high camp and happy farce.
  22. It’s worth mentioning again that, somehow, this movie, with all its full-frontal historical horror, is still loaded with laughs.
  23. Is God Is may borrow from an old narrative formula, but it reframes it into something sharper and more searching. It shows that stories rooted in Black trauma don’t have to be pulled down by it. Vibrancy and texture are what give a killing spree its stakes, after all, and this one ends with an understated affirmation of the human spirit. How’s that for a twist.
  24. Something in its mandarin blankness and balletic vastness, and refusal to trade in the emollient dramatic forms of human interest and human sympathy. Kubrick leaves usual considerations behind with his readiness to imagine a post-human future.
  25. It may only be a repeat of earlier ideas and plotlines, but compare it to the fourth films in other franchises and Pixar’s latest is an amusing and charming gem.
  26. The film is forthright and intelligent on the difficulties and complexities involved in the discussion.

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