The Guardian's Scores

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For 6,594 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: 2,497 out of 6594
  2. Mixed: 3,778 out of 6594
  3. Negative: 319 out of 6594
6594 movie reviews
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  1. The Revenant
    What is so distinctive about this Iñárritu picture is its unitary control and its fluency: no matter how extended, the film’s tense story is under the director’s complete control and he unspools great meandering, bravura travelling shots to tell it: not dissimilar, in some ways, to his previous picture, Birdman. The movie is as thrilling and painful as a sheet of ice held to the skin.
  2. The Kingmaker
    Lauren Greenfield’s film about the Philippines’ former first lady Imelda Marcos reveals a grotesquely self-pitying, wholly unrepentant and very rich woman.
  3. Incredible But True
    Incredible But True has a wacky premise that Dupieux very possibly had no idea how to develop. And yet I found myself laughing quite a lot of the time. The sheer silliness and zen pointlessness is entertaining.
  4. Cassandro
    The focus is on his star quality and the qualities that made him a pioneer: sunniness, grit, passion for his sport, the unconditional love and support of his mother, and his unbreakable confidence to be himself. It’s undeniably heartwarming.
  5. La Piscine
    Erotic languour turns gradually into fear and then horror in this gripping and superbly controlled psychological thriller from 1969.
    • 76 Metascore
    • 80 Critic Score
    The Music Man
    DaCosta's musical is one of the most exuberant and purely enjoyable of the lot. Much of this is down to the infectious energy of Robert Preston, reprising his stage role as smooth-talking conman. [12 Nov 2005, p.53]
    • The Guardian
  7. No Sudden Move
    The overstuffed, better-keep-up narrative suits the film’s purposes, occupying audience attentions to leave them unprepared for the nimble writing’s assorted baits and switches.
  8. Sisu: Road to Revenge
    The good news is that it remains terrific: punchy, old-school stunt work, crisply uncluttered cutting, and varied, inventive baddie-splattering from the moment Aatami deploys one of those beams to take down a jet fighter.
  9. Stronger
    Stronger is a film filled with warmth and humanity, but one that doesn’t sugarcoat the reality that comes with it.
  10. What Does That Nature Say to You
    This movie lodged in my mind a little more than Hong’s earlier films, perhaps because it is less contrived and it features a genuinely funny and complex opening scene.
  11. Nostalgia
    Mario Martone’s beautifully shot and superbly composed film teeters on the edge of something special. And if it doesn’t quite achieve that, settling in the end for something more generically crime-oriented, it’s still very good.
  12. September 5
    The film moves more freely because of its willed unconcern with the historical implications of the Munich hostage massacre; modern audiences may feel the contemporary context makes it naive or obtuse. But it’s a muscular, well-made picture with the tang of cold sweat.
    • 76 Metascore
    • 100 Critic Score
    Pass Over
    As a drama, Pass Over is a masterful tragedy. As a reflection of the world, it is all too real and utterly woeful.
  14. At Eternity's Gate
    Julian Schnabel has made a heartfelt if straightforwardly reverent film about the last years in the life of Vincent van Gogh – acted by with all the integrity and unselfconscious ease that you would expect from this great actor.
  15. 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).
  16. Pavements
    Intriguingly, but finally a bit frustratingly, Perry is running four ideas at once, a kind of cine-quadriptych with the plurality signalled by the title.
  17. Obvious Child
    A glorious jumping bean comedy that moves from the profane to the poignant in the blink of an eye.
  18. Reality
    It's a likable film played with gusto and heart — though fundamentally a little sentimental and predictable.
  19. A Place in the Sun
    Every second of this noir masterpiece is gripping, and the chemistry between Montgomery Clift and Elizabeth Taylor is utterly thrilling.
  20. Inna de Yard
    The movie’s a great night out, but you sense it’ll also become a priceless resource.
    • 76 Metascore
    • 80 Critic Score
    A Woman of Paris: A Drama of Fate
    A Woman of Paris is a remarkable film, an historic film, a film to see and consider. But, it is wintry, and not everyone will find it to his liking.
  22. The Godfather Coda: The Death of Michael Corleone
    I’m not sure how much, if anything, Coppola’s re-edit does for the third Godfather film, but it’s worth a watch.
  23. King Richard
    Enjoyable and well-crafted as it is, this movie can’t quite decide what to do with the tougher, darker side of Richard Williams.
  24. Shirley
    This film finally flinches from its own menacing implications and dark suspenseful power with a rather feeble ending of empowerment and solidarity. A very 21st-century loss of nerve.
  25. mother!
    As horror it is ridiculous, as comedy it is startling and hilarious, and as a machine for freaking you out it is a thing of wonder.
  26. Jeune Femme (Montparnasse Bienvenüe)
    [An] attractive and sympathetically acted movie in a classic New Wave style.
  27. Howard
    There’s something exciting about a film that immerses you in the life of a creative artist, and so it proves with this documentary about Howard Ashman.
  28. 10 Cloverfield Lane
    All three actors are tremendous, and director Dan Trachtenberg, making his feature debut, must be commended for keeping things tightly focused.
  29. Sharp Corner
    Buxton gains confidence as the film heads into the murky final stretch, neatly gliding around the, ahem, sharp corners that would have seen others crashing into the darkness. He leads his story to a knockout ending that’s both hauntingly downbeat yet crushingly inevitable without going to new, unnecessary extremes.
  30. Ghost in the Shell
    It is a dizzying, headspinning film, replete with violence, alienation and tech-porn. I confess I find it too opaque to make the kind of investment that would qualify me as a real fan. But it should be seen.
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