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. Captain America: Civil War
    It’s a huge aspartame rush of a film: a giant irresistible snack, not nutritious, but very tasty.
  2. The King and the Mockingbird
    It's a richly conceived treat.
  3. Next Goal Wins
    As an antidote to Premier League cynicism, it couldn't be bettered.
  4. Sisters
    It’s silly and poignant and funny.
  5. Withnail and I
    This is a ramshackle, exuberant affair, peppered with larger-than-life inhabitants, ludicrous scenes and quotable dialogue that have long since grown worn from frequent use.
  6. Welcome to New York
    Welcome to New York proves thoroughly engrossing. Here is a work of ragged glory; dirty and galvanic. [Unrated Version]
  7. Wild
    Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.
  8. Point Break
    Point Break is a freaky mix of Dog Day Afternoon and Big Wednesday; bank robbing meets surfing.
  9. Macbeth
    There is a lot of sound and fury in this Macbeth, but not without meaning. It’s not perhaps a very subtle version, and I felt that Kurzel should have perhaps worked more closely with Fassbender with the contours of his speeches, and shown the painful mind-changing and nerve-losing in the early stages. There is an operatic verve.
  10. Winter Sleep
    In fits and starts, this is a stunning picture. At its best, Winter Sleep shows Ceylan to be as psychologically rigorous, in his way, as Ingmar Bergman before him.
  11. Timbuktu
    Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
  12. Mommy
    Dolan's energy and attack is thrilling; his movie is often brilliant and very funny in ways which smash through the barriers marked Incorrect and Inappropriate.
  13. Wrinkles
    This movie has the same desolate quality as Philip Larkin's poem The Building, and yet it is tender and lovable, too.
  14. White God
    White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
  15. Sausage Party
    Seth Rogen’s naughty food cartoon Sausage Party is, like much of his best work, deceptive packaging.
  16. Jimi: All Is by My Side
    The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.
  17. The BFG
    It seems pointless to say that the big friendly giant is the star of The BFG. But casting has never been more crucial. A typically distinctive, eccentric and seductive star performance from Mark Rylance absolutely makes this movie what it is.
  18. Unrelated
    As if from nowhere, a first-time British film-maker has appeared with a tremendously accomplished, subtle and supremely confident feature, authorially distinctive and positively dripping with technique.
  19. Black Mass
    Scott Cooper’s Black Mass is a big, brash, horribly watchable gangster picture taken from an extraordinary true story and conceived on familiar generic lines.
  20. The Green Prince
    Schirman's film (produced by the team behind Man on Wire and Searching For Sugarman) is as gripping as any high-concept Hollywood thriller and as psychologically knotty as Greek tragedy.
  21. Silence
    With ambition and reach, and often a real dramatic grandeur, Scorsese’s film has addressed the imperial crisis of Christian evangelists with stamina, seriousness and a gusto comparable to David Lean’s.
  22. Metro Manila
    It's a resourceful, distinctive film that builds to a satisfying crescendo.
  23. 99 Homes
    This is a tough, muscular, idealistic drama that packs a mighty punch, and Shannon and Garfield are excellent.
  24. The Nice Guys
    [Black] creates some outrageously contrived and protracted shootouts and one or two good old fashioned action explosions. But he also keeps the dialogue cracking along.
  25. The Gambler
    This spiral of self-imposed despair feels like part three of a trilogy of American financial darkness after Killing Them Softly and The Counsellor. The Gambler isn’t quite so audience-unfriendly, but those looking for a typical Wahlberg thriller might come away disappointed. Others looking for a less sure bet might reap the rewards.
  26. The Duke of Burgundy
    The Duke of Burgundy will have its detractors. But this is not just a filthy movie. It's a considerable work of art, and one that touches on a rarely discussed side of human sexuality completely free of judgement.
  27. Love & Mercy
    It’s creative and experimental in just the right spirit, though with an asymmetric flaw. The film is a kind of diptych in which one of the panels is more fully achieved than the other.
  28. Pasolini
    It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  29. Phoenix
    It’s a testament to Petzold’s sane head, steady hand and effortless storytelling skill that implausible plot-points are smuggled past us in their own blood-soaked bandages.
  30. The Riot Club
    The Riot Club hands its audience a ticket, as well as a free pass to pour scorn over proceedings. That's a double-bill which should prove pretty irresistible.
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