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. Our Children
    Émilie Dequenne is the young actor who made a powerful debut in the Dardenne brothers' prize-winning film "Rosetta" in 1999, and what a superb performance she gives now in this inexpressibly painful drama.
  2. Neighbors
    In its current state, Neighbors is filthy, nasty and a bit too sloppy. But it’ll scrub up lovely.
    • 75 Metascore
    • 80 Critic Score
    Muscle Shoals
    A stubborn charmer whose life was a magnet for tragedy, Hall is the emotional centre not only of the Muscle Shoals sound but of this film.
  4. Wadjda
    You'd need a heart of stone not to be won over by Wadjda, a rebel yell with a spoonful of sugar and a pungent sense of a Riyadh society split between the home, the madrasa and the shopping mall.
  5. Escape from Tomorrow
    The acting isn't perfect (which is perhaps understandable under the circumstances), and the film's dream states sometimes try too hard, but Escape From Tomorrow has an otherworldly atmosphere that both hooks and engages.
  6. Night Moves
    This director, in the past, has shown herself to be an ace with the teasing, hanging ending and Night Moves saves the best for last.
  7. The Dirties
    It may wind up as the year's most significant horror film; it's certainly among the most original.
  8. The Railway Man
    From time to time, the script contextualises a little clumsily...but the playing and pacing are terrific.
  9. Stranger by the Lake
    The tired old trope "erotic thriller" does no justice to how confrontationally and explicitly sexual this movie is — nor how thrilling, nor how menacing and complex.
  10. Fading Gigolo
    Turturro has given Allen his biggest and best on-screen turn in years: the part was written for him and it's full of scope for amiable kvetching and nimble slapstick.
  11. The Invisible Woman
    The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
  12. Joe
    Joe also stands as a reminder of what a terrific actor Cage can be when he is able to harness and channel his wilder impulses.
  13. Life of Crime
    It gleams with a faintly-tacky, country club sheen, as if it'd been sheep-dipped in essence of 70s and come out feeling peachy.
  14. Philomena
    Its main focus is the sparky, shifting relationship between its two protagonists and its trump card the startling chemistry between its two main stars.
    • 67 Metascore
    • 80 Critic Score
    The Armstrong Lie
    Succeeds as a probing look into the mechanics of an epic lie, and because of the emotion at its heart.
  16. Child of God
    Child of God is a shocking tale of backwoods lunacy and one man's descent into hell. Perhaps the most shocking thing about it is that it's really rather good.
  17. Le Week-End
    For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.
    • 76 Metascore
    • 80 Critic Score
    Wolf Children
    Telling the story through the eyes of the harried, bereaved but indomitable mother gives this calm, funny, only occasionally schmaltzy family film a maturity Twilight never reached.
  19. Sunshine on Leith
    A remorselessly rousing attempt to do for the Scottish pub rock twins what Mamma Mia! did for Abba or Tommy for The Who.
  20. Gloria
    Gloria is a sad, painful romantic story.
  21. The Grand Budapest Hotel
    With this film, Anderson has built a thoroughly likable vision of a prewar Europe – no more real, perhaps, than the kind of Viennese light-operetta that sustained much of 1930s Hollywood – but a distinctive, attractive proposition all the same. It's a nimblefooted, witty piece, but one also imbued with a premonitory sadness at the coming conflagration.
  22. Gone Girl
    Gone Girl, finally, may be no more than a storm in a teacup. But what an elegant, bone-china teacup this is. And what a fearsome force-10 gale we have brewing inside.
  23. Paradise: Hope
    The love story – and it can be called that – between the doctor and Melanie is presented with candour and tenderness. There is a new humanity to Seidl's work; it could be his best film so far.
  24. Everyday
    A valuable, meticulously observed and wonderfully acted social-realist feature about a family under pressure.
  25. Kingsman: The Secret Service
    Despite the presence of grandfatherly Michael Caine, Kingsman’s tone is about as far from the Christopher Nolan-style superhero film as you can get. Verisimilitude is frequently traded in for a rich laugh. The action scenes delight with shock humour.
    • 75 Metascore
    • 80 Critic Score
    Spy
    Spy confirms Feig’s and McCarthy’s instinct for both the zeitgeist and the funnybone, and is sure to ramp up anticipation for Ghostbusters even higher – as well as being a delight in its own right.
  27. Mad Max: Fury Road
    That adjective in the title is accurate. Extravagantly deranged, ear-splittingly cacophonous, and entirely over the top, George Miller has revived his Mad Max punk-western franchise as a bizarre convoy chase action-thriller in the post-apocalyptic desert.
  28. Return to Homs
    Admittedly, there are a lot of documentaries like this, made by citizen journalists recording uprisings in their homelands, but this is one of the best of the recent crop, and a timely reminder of a conflict that's slipped out of the headlines of late.
  29. Nymphomaniac: Volume II
    It is so laden with highly charged set pieces, so dappled with haunting ideas and bold flights of fancy that it finally achieves a kind of slow-burn transcendence.
  30. Blue Ruin
    The endgame is disappointingly predictable, but writer-director-cinematographer Jeremy Saulnier has a lovely touch with faces, light and telling details.
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