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. In Bloom
    The film finds the subtle tells that suggest these free-roaming girls might themselves have become prisoners of war, while enveloping its heroines in a persuasive turbulence: unpredictable, never forced, and forever compelling.
  2. Inherent Vice
    Anderson has all manner of fun with the tale's whirling, blurring trajectory. His film is like a jubilant spin painting in which the characters have been scattered and splattered to the furthest reaches of the frame.
  3. Voyage of Time: Life's Journey
    Voyage of Time, in the end, is a perhaps an aesthetic experience rather than an particularly informative one, prizing images over data; but what images they are.
  4. Nightcrawler
    From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.
  5. The Homesman
    Tommy Lee Jones shows some true storytelling grit in this superbly watchable frontier western; he has a muscular and confident command of narrative, driving the plot onward with a real whip-crack, and easily handles the tonal swings between brutal shock, black comedy and sentimentality.
  6. Song to Song
    Song to Song is, once you root around for a story, the best of a recent trilogy.
  7. Manglehorn
    Pacino's Manglehorn is a subtle master class in neutral shading, with none of the garish flashes that sometimes bedevil his work.
  8. Maps to the Stars
    The status-anxiety, fame-vertigo, sexual satiety and that all-encompassing fear of failure which poisons every triumph are displayed here with an icy new connoisseurship, a kind of extremism which faces down the traditional objection that films like this are secretly infatuated with their subject.
  9. Clouds of Sils Maria
    If Assayas's film finally falls just shy of being great art itself, it is at least handsomely staged and played with conviction.
  10. The Theory of Everything
    It's a film to leave you reeling but cheered, too. It's about battling love, as well as illness. A universal story, extracted from a unique one.
  11. The Internet's Own Boy: The Story of Aaron Swartz
    Essential viewing for anyone interested in what freedom of information means in the digital age, this passionate, fascinating, unapologetically partial but fair documentary celebrates Aaron Swartz.
  12. Eden
    Hansen-Løve has an acute eye for the details of Paul’s world. Glamour is twinned with mundanity, beauty with boorishness and friendship with selfishness, while artistic endeavour is undercut by self-indulgence.
  13. Frank
    For a film that champions talent that takes risks, Frank can sometimes feel a little too conventional. The real Sidebottom's wayward genius would be a hard fit for any story arc, but Frank does a good job of dipping into surrealism and pop in equal measure.
  14. Finding Fela!
    Finding Fela does an exemplary job of explaining, in musical terms, what made Fela standout, a simple enough step that most music documentaries ignore.
  15. Calvary
    Calvary boasts a sharp sense of place and a deep love of language. It's puckish and playful, mercurial and clever, rattling with gallows laughter as it paints a portrait of an Irish community that is at once intimate and alienated.
  16. Whiplash
    It's rare to see a film about music that professes its love for the music and its characters equally.
  17. The Lunchbox
    The Lunchbox is perfectly handled and beautifully acted; a quiet storm of banked emotions.
  18. In the Heat of the Night
    The sheer tactlessness of its racial confrontation has a forthright quality and a not entirely intentional documentary realism, especially in the scenes shot on location in Sparta, Illinois (standing in for a fictional Mississippi town).
  19. Obvious Child
    A glorious jumping bean comedy that moves from the profane to the poignant in the blink of an eye.
  20. Crimson Peak
    Guillermo del Toro’s gothic fantasy-romance Crimson Peak is outrageously sumptuous, gruesomely violent and designed to within an inch of its life.
    • 69 Metascore
    • 80 Critic Score
    The Fault in Our Stars
    The film works on only one level, but so completely on that level that the rest doesn’t seem to matter: Woodley and Egort have terrific chemistry.
  22. '71
    It's a film that holds you in a vice-like grip throughout; only wavering towards the end with a faintly preposterous climactic shootout.
    • 89 Metascore
    • 80 Critic Score
    Foreign Correspondent
    A breathless yarn with the most serious of intents that soars well beyond mediocrity but just below genius, yet remains a film that I feel should be included on the master of suspense's top table.
  24. The LEGO Movie 2: The Second Part
    The second Lego Movie is even better than the original: a sophisticated new adventure that gives us a new look at how the universality of the Lego universe was more gendered than we thought.
    • 82 Metascore
    • 80 Critic Score
    Tess
    An outstanding piece of work.
    • 56 Metascore
    • 80 Critic Score
    River of Fundament
    For all its abstruse content and excruciating length, the film has both the ambition and a sufficient amount of breathtaking cinematography to make even the boldest claims it makes for itself seem valid.
  27. Himizu
    Sono retains his go-for-the-throat approach, but the violence here somehow connects with the brutal economic conditions, and he fosters very tender, affecting performances from Shôta Sometani and Fumi Nikaidô as his crushed young lovers.
  28. Suzanne
    The brilliance of Quillévéré's direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them.
  29. Tom at the Farm
    The psychological thriller form has imposed on Dolan some discipline, and brought out his talent and energy.
  30. Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
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