The Guardian's Scores

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:
6581 movie reviews
  1. Although not as strikingly original as Bujalski’s earlier work, there’s something endearing about the characters, the film’s laconic, stoner rhythms and quirky plotting. In the end, it has something wise and kind to say about loneliness and the cult of personal improvement.
  2. Director Kyle Patrick Alvarez deserves all the praise in the world for the way he cranks up this pressure cooker script. The Stanford Prison Experiment begins with giggles but ends in full psychological break.
  3. There’s real energy.
    • 66 Metascore
    • 80 Critic Score
    The movie culminates in a tense, protracted standoff that keeps the audience on edge for way longer than is comfortable. I mean that as a compliment.
    • 80 Metascore
    • 80 Critic Score
    Finders Keepers pays as much attention to the comedy of the story as the humanity. What could easily be a silly saga or a simple indictment of the culture of fame becomes something diabolically more insightful and uplifting.
  4. A smart and beautiful meditation of fathers and sons (and the Father and Son) that is slow but never boring.
  5. Without Ronan’s performance, Brooklyn might have left a sugary taste. But she is the ingredient that brings everything together: her calm poise anchors almost every scene and every shot.
  6. Maddin’s zeal for old cameras and stocks is matched only by his revelry in evoking an entire genre with a single image. The film’s apogee literally opens up The Book of Climax in a sequence of pure, knowing cinematic joy. Film-lovers, this ludicrous movie is for you.
  7. It’s grim, unfussy and deeply moving.
  8. Beckinsale is a hoot to watch as a character with no redeemable qualities, except for her cunning ability to get what she wants. You can’t help but love Lady Susan because of the evident joy she takes in being so duplicitous. Her energy is infectious.
  9. Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
  10. It’s an immensely likable movie, impeccably acted and wise about the nature of exile.
  11. Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.
  12. Blunt’s performance has an edge of steel. She brings off a mix of confidence, bewilderment and vulnerability, which functions very well against the alpha male characters higher up the chain of command.
  13. Smith’s performance, honed from the previous stage and radio versions, is terrifically good.
  14. Plaza has found her Ron Burgundy: the vessel of a true imbecile in which to pour her strange genius.
  15. The Last Jedi gives you an explosive sugar rush of spectacle. It’s a film that buzzes with belief in itself and its own mythic universe – a euphoric certainty that I think no other movie franchise has. And there is no provisional hesitation or energy dip of the sort that might have been expected between episodes seven and nine.
  16. This is another really entertaining fantasy with fan-fiction energy and attack.
  17. Ultimately, Experimenter finds a glimmer of hope by simply revealing itself. Maybe if more people are educated about the dangers of obedience, they’ll put up more resistance. It can’t hurt to hope.
  18. The Founder is an absorbing and unexpectedly subtle movie about the genesis of the McDonald’s burger empire.
  19. It is a bravura debut from a young film-maker, proving that one can still make a movie for no money at a family member’s house and come away with a work of art, not just a calling card.
  20. Funny, oddly affecting and cherishably personal.
  21. The will-they-won’t-they dynamic of the film grips you and it’s almost impossible not to root for Strompolos and Zala, especially when things on set get hairy.
  22. The debutant director applies himself with the same quiet assurance and attention to detail he’s displayed in his acting projects.
    • 63 Metascore
    • 80 Critic Score
    Even if you’re cynical about Brand’s motives, or just think that he’s a bit of berk, the film convinces you of the almost alarming sincerity of his political mission.
    • 72 Metascore
    • 80 Critic Score
    Gibney’s film concludes that Jobs had the monomaniacal focus of a monk but none of the empathy of one, and it makes a powerful case.
  23. [A] touching, insightful and, at the end of the day, extremely well-meaning film.
  24. There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.
  25. Mia Madre is a tremendously smart and enjoyable movie.
  26. It doesn’t have the heart, the depth or the novelty of the first Lego movie, but it is relentlessly, consistently funny – which excuses everything.

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