The Guardian's Scores

For 6,585 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:
6585 movie reviews
  1. Director Marielle Heller and screenwriters Noah Harpster and Micah Fitzerman-Blue have adroitly set up the tightrope that Tom Hanks has to walk across, stretching it between irony and belief, and the result is a really entertaining and touching film.
  2. It’s a remarkable match-up between film-makers and actor and reaffirms the importance of that partnership, especially for a movie star stuck in a profitable rut. Sandler deserves more, and if he wants us to keep watching, then so do we.
  3. Victor Kossakovsky’s Aquarela is an absorbing and disturbing spectacle, a sensory film about the climate crisis, and it begins with what might be the soundtrack to the end of the world – a persistent tinkling, crackling, trickling.
  4. The result falls somewhere between a slave-escape drama, an action thriller, a western and even an unexpected kind of superhero film. It’s a winning combination, although Lemmons does not immerse us in the agony and injustice of slavery as such; she puts together a well-crafted movie that is the showcase for an excellent performance from Erivo.
  5. It’s a heartfelt, funny, satisfying film.
  6. Baumbach seeks to mine his material for laughs, no matter how desperate the situation becomes.
  7. There are, arguably, scenes in this film which are less than subtle – and there were times when I wanted something more indirect. But Manville and Neeson have a real empathy and intimacy on screen.
  8. It is a very grueling spectacle, often brilliant, sometimes slightly redundant and perhaps not able to maintain the storytelling rush of its first act. But it is always weirdly plausible in its pure strangeness and in the oddly poignant moments
  9. Ema
    While I confess that I found Ema to be a notch down on his best work, it’s still hugely distinctive and daring and may well be a grower.
  10. What a thoroughly likeable and funny film.
  11. The film’s prize asset ... is Meryl Streep.
  12. The Painted Bird is a brutal kind of ordeal, but eerie, unearthly and even beautiful sometimes: a bad dream that leaks into waking reality.
  13. You will no doubt bail out at some point – but that’s part of the deal. Llinás has done enough to make sure we come back.
  14. The Killer is quite a spectacle and, incidentally, much more pessimistic than Sirk.
  15. This is not social realism in the style of Ken Loach, but it is a film with a strong sense of outrage. Some might find it relentlessly bleak.
  16. The Perfect Candidate is the sort of film I can imagine getting a remake in contemporary America or Britain, with not as many changes as we might assume.
  17. About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.
    • 49 Metascore
    • 80 Critic Score
    There is much to irritate in the film, but it's bold, individual and a landmark in British cinema, with outstanding performances.
    • 75 Metascore
    • 80 Critic Score
    An impressively faithful and highly effective film, aside from the misjudged [spoiler omitted] ending.

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