The Guardian's Scores

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For 6,581 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: 2,495 out of 6581
  2. Mixed: 3,767 out of 6581
  3. Negative: 319 out of 6581
6581 movie reviews
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  1. Hunting Jessica Brok
    The biggest problem with Outgunned though is that it seems to have fallen prey to one of the stupidest of modern issues in cinema: a luxuriously padded run time.
  2. Dolly
    It’s a bit of a snooze, but Therese is very good at channelling terror and distress.
  3. Play Dead
    The layering of one creepy thing on to another creates a sense of silliness rather than terror, leaving you with the sense that Coco Chanel’s maxim about the perils of over-accessorising – “Before you leave the house, look in the mirror and take one thing off” – also applies to writing and editing horror movies.
  4. Apex
    The whole affair feels slick but soulless, with no personality or – despite the lush settings – any real sense of place.
  5. Mother's Pride
    The cast nurdle matters along to the climactic real ale awards, which becomes the scene of current cinema’s least surprising surprise result.
  6. Bone Keeper
    It all adds up to a serviceable horror that at times feels like a B-movie without the fun, containing scenes that could almost work as a spoof.
  7. Swapped
    The off-brand, bought down the market quality of Skydance animation is initially less of a problem here without the poorly realised humans of Luck and Spellbound to distract but there’s still no immersion or sweep to the world being created, just bright colours which might be enough for some toddlers.
  8. Primavera
    Opera director Damiano Michieletto makes his underpowered cinema debut here, and the whole film, with its lifeless staging, uninteresting performances and laughably naive ending can only be described as the school of Salieri.
  9. Neglected
    For all its cack-handedness, there’s some effort here to grapple with issues around institutional and personal guilt and the wrongs done to young people that might turn them into smirking, giggling serial killers … or mass murderers, depending on how you define the term.
  10. Another Day
    This is a very glib and unsatisfying drama, whose essential naivety becomes apparent when the lead character is forced to confront the crisis in her life.
  11. The Electric Kiss
    The film’s absurdity and antique dramatic style never quite come to life.
  12. Butterfly Jam
    Butterfly Jam is contrived, tonally uncertain, implausible and frankly plain silly in its underpowered kind of magic-unrealism, with some clunky secondhand Mean Streets mob-fraternal dialogue and pedantic ethnic-foodie cred, and elliptically positioning key scenes off camera for no obviously satisfying reason.
    • 44 Metascore
    • 30 Critic Score
    Superman III
    This is not a very good effort, seeming tired without being emotional. It looks like the end of the line...Superman III never flies as it should, or only does momentarily. [31 July 1983, p.21]
    • The Guardian
    • 47 Metascore
    • 30 Critic Score
    1492: Conquest of Paradise
    The New World is a disaster, moans Queen Isabella. Yes, that's about right.
    • 31 Metascore
    • 30 Critic Score
    Blind Fury
    It was not clear to me why Phillip Noyce, the Australian director of the fine Backroads and Newsfront, should want to make this comedy thriller as his first American picture. But possibly his vision was impaired where the script was concerned. [12 Jul 1990]
    • The Guardian
    • 21 Metascore
    • 30 Critic Score
    The Car
    A demonic limo, driverless behind its tinted windows, vrooms around killing people in this squashy horror that fails to match other vehicular creepies like Christine and Duel. [24 Sep 1999, p.20]
    • The Guardian
    • 39 Metascore
    • 30 Critic Score
    Yellowbeard
    Do you want to laugh already? Then laugh now, before you see this dispiritingly unfunny pirate movie. Later, it's difficult. Very brief moments only, I'm afraid. [25 Sep 1983, p.19]
    • The Guardian
    • 41 Metascore
    • 30 Critic Score
    Candyman: Farewell to the Flesh
    Bill Condon's Candyman II: Farewell To The Flesh is a woefully inadequate sequel with straight-to-video written all over it. [30 Nov 1995, p.T9]
    • The Guardian
  19. Terminator Salvation
    With much buzzing, beeping and whirring, the Terminator franchise comes to an absolute creative standstill, or even goes clankingly into reverse, with this fantastically dull fourth episode.
  20. 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.
  21. Mother's Day
    An ingenious idea for a suspense thriller – or maybe even an old-fashioned, "Wait Until Dark"-style stage play – turns out instead to be the pretext for a crass, over-long and tiresome splatter nightmare.
  22. Take This Waltz
    In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.
  23. 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.
  24. John Carter
    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.
  25. Rock of Ages
    Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.
  26. 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.
  27. Savages
    Sadly, Savages plays up to Stone's worst tendencies: machismo, bombast and self-indulgence, and the factor that could conceivably have made this movie tolerable – humour – is off the menu.
  28. Act of Valor
    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.
  29. After Earth
    He's done it again. M Night Shyamalan has done it again. Again. Done it. Again. He has given us another film for which the only appropriate expression is stammering, gibbering wonder that anyone can keep making such uncompromisingly terrible movies with such stamina and dedication.
  30. Tonight You're Mine
    A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.
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