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. Fastvold’s film is distinctive in that she shows us how physical constraint and violence are part of the fabric of living.
  2. There’s a rich confectionery of strangeness, sadness and fear to this very absorbing film.
  3. Good Joe Bell is a generous film about an outsider travelling across the country realising the importance of listening and learning from others (as well as his own guilty conscience).
  4. James Erskine’s film showcases the unforgettable Holiday voice: her elegantly casual, almost negligent readings of melodies, with a sensual moan or purr that was on the verge of a sob.
    • 82 Metascore
    • 80 Critic Score
    The humour in My Man Godfrey is madcap, but in the best way.
  5. There is much to appreciate in this film; much to like. You don’t just watch it in big bright colours; you remember it in big bright colours too.
  6. Nocturne is simpatico with a protagonist who, in lieu of greatness, decides to steal – then play it like she owns it. An elegant, forking finale proves as much.
  7. Sud – with plenty of inexorable tracking shots through the family’s chilly condo – efficiently tightens the screw as the twitchy mother and indulgent father first bicker, then are doomed together by their blood allegiances.
    • 75 Metascore
    • 80 Critic Score
    Timeless entertainment. [24 Dec 2005]
    • The Guardian
  8. The Prom is as corny as you like, and there is hardly a plot turn, transition or song-cue that can’t be guessed well in advance; but it’s so goofy that you just have to enjoy it, and there are some very funny lines.
  9. 76 Days is not a hard-hitting documentary about the centre of the Covid-19 pandemic – maybe such a film will be slower to arrive than the vaccine – but it’s a potent human-interest story, and a portrait of a city under siege.
  10. If there is a tonal uncertainty in this comedy, then that’s because there was a tonal uncertainty in the real-life events, and the movie nicely conveys how they were at one and the same time deadly serious and Pythonically silly.
  11. Lovely, heartfelt performances from Stanley Tucci and Colin Firth carry this intimate movie.
  12. It is a personal film – and political, too. There is emotion and urgency in that familiar soothing voice.
  13. What a man. Just writing this makes me want to watch the documentary all over again.
  14. Swinton’s delivery has a theatrical style – it very much feels as if we could be watching a stage show – and there is something frozenly despairing about it; it is the voice of someone who is unwilling to relinquish her dignity or rationality and just give in to an aria of sadness.
    • 65 Metascore
    • 80 Critic Score
    Cushing relishes the role of his career as the sociopathic dandy whose passion for science overrides all moral considerations, while Christopher Lee conveys the dire plight of the creature through body language alone.
  15. This is Boseman’s final performance on screen, and what a glorious performance to go out on. It is a head-butting confrontation of the galácticos: Davis and Boseman are each the immovable object and irresistible force.
  16. In writer-director Evan Morgan’s unusual neo-noir The Kid Detective, it’s not just a suspect or a motive that’s a red herring, it’s an entire genre, a strange rug-pull of a movie that starts in the middle of the road before ending up off a cliff, in a way that both works and doesn’t, a fascinating gambit nonetheless.
  17. A brilliantly textured film to be savoured.
  18. This dense but witty film is never caught short for a flourish.
  19. An excellent brief documentary about a heroic grassroots political movement whose importance reveals itself more clearly in retrospect with every year that passes.
  20. The film never behaves as if it is anything other than a realist coming-of-age drama but there is something else going on.
  21. Perhaps it’s quaint, but it’s also watchable, and it is the kind of sci-fi that is genuinely audacious, trying to envisage what the future will be like – and often succeeding.
  22. Vintage screen Dickens with a cutting edge: the French terror is vividly, hauntingly realised, all chaos and guillotine ghouls. [16 Aug 2000, p.23]
    • The Guardian
  23. In the end, the film operates best as an act of ancestor-worship to an extraordinary musician whose best days – we are forced to sadly conclude – appear to be behind him.
  24. Wonderful entertainment.
  25. There’s no denying Zappa’s personal charisma and devotion to his cause, nor his articulacy in its service. Winter has created a fascinating watch.
  26. Rams is a lovely, even-tempered drama about men and rural life, gentle but firm of spirit, with a down-to-earth pith and a way of entertainingly and unpretentiously exploring potentially difficult subjects such as masculinity.
    • 80 Metascore
    • 80 Critic Score
    It's all sweat, death and bloody retribution: one of Peckinpah's finest. [03 Apr 2010, p.53]
    • The Guardian

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