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. Chock full of delightful narrative surprises, imaginative genre tweaks, and warming performances from its two leads, this low-budget romcom-horror story is worth seeking out.
  2. A startling piece of film-making, floating free of the conventional demands of period and narrative.
  3. Snyder’s film may be exhausting but it is engaging. Justice is served.
  4. With production designer Paulina Rzeszowska and cinematographer Annika Summerson, Bailey-Bond creates something almost unbearably close and oppressive, like the bottom of a murky fish tank. It’s a very elegant and disquieting debut.
  5. While a certain disarming naivety infuses the work, it nevertheless packs an evocative punch, with a moral message about intolerance and the need to protect more vulnerable species. It’s also one of the few films that could potentially induce a psychedelic trip with its visuals alone.
  6. In the Earth brings us back to Wheatley’s classic world of occult loopy weirdness and cult Britmovie seediness, with a new topical dimension of pandemic paranoia, and what keeps you watching is its unreadable, almost undetectable thread of black comedy.
  7. Business as usual has largely resumed in Wuhan, but Wang’s film contends that that’s just the problem. The same apparatuses of messaging and censorship are still in operation, ensuring that the full extent of the malfeasance may never be fully known
  8. Mass is performed with impeccable intelligence and sensitivity, although sometimes it feels like an exercise in award-winning acting. But I admit it: the final, unexpected dialogue scene, though arguably as stagey and showy as everything else, does deliver a punch.
    • 78 Metascore
    • 80 Critic Score
    This grim picture of borstal life packs a real punch. And kick, and headbutt. [13 Feb 2010]
    • The Guardian
  9. There is such sensitivity and intelligence in the performances from Thompson and Negga and the cinematography from Eduard Grau and production design by Nora Mendis are both ravishing. It’s a very stylish piece of work from Hall.
  10. This film is enigmatic and yet very digestible, deadpan in its comedy and so insouciant and casual in its form, you might almost think that Katz had written it in five minutes, filmed it in a week. There is real artistry here.
  11. It is simultaneously exasperating and magnificent that he shows no interest whatever in asking the Mael brothers anything about their personal, emotional or romantic lives.
  12. Beneath the crazy candy-coloured palette, there is actually some real human warmth in the love story, and the acting ensemble features some great comic performers in supporting roles.
  13. Amid the current explosion of affirmative diversity-driven film-making, there is a kind of strength in such a self-excoriating and uncompromising point of view. Corbine Jr is one to watch.
  14. What an uncanny, exhilarating experience.
  15. This is a richly intelligent drama, in which every word and every shot counts.
  16. Graham uses darkness and a very sparse score/soundscape to create a truly disturbing work that relies not so much on gore as the uncanny in its most potent form: stillness, pools of darkness and just-visible figures.
  17. These mid-90s, north-west Brooklyn specificities are fascinating and relevant; to Biggie’s art, certainly, but possibly also to his death.
  18. This goofy horror comedy, based on an online game of the same name, just goes to prove that if you have a great cast, smart direction and witty script you can just about get away with murder.
  19. This clever thriller teeters on the brink of abstraction, and walks a razor wire between horror and an incredulous absurdity meant to stand for how women must live in the modern world: the daily toll of living in fear of aggression, physical assault and withstanding the misogynistic structures that excuse them.
  20. As for interpreting what it all means, leave that to Burns’s therapist. The flamboyance on display here, though, promises great things.
  21. It is a really powerful film and Brady’s final dialogue scene exerts a lethal grip.
  22. It is a riveting, dreamlike evocation of this man’s tortured, unhappy life, whose transient successes bring him no pleasure of any kind.
  23. This trio of stories is elegant and amusing, with a delicacy of touch and real imaginative warmth.
  24. It’s a movie bristling with ideas and ingenuity.
  25. This is a world of brutality and fear from which the movie averts its gaze at key moments, but the chill is unmistakable. The title appears to refer to a light which is inexorably fading.
  26. This has elegance, vigour and charm.
    • 73 Metascore
    • 80 Critic Score
    Mostly, Kitano is as expressionless as Buster Keaton, but now and then a smile breaks out on that weather-beaten face. He doesn't use much camera movement either, but the combination of understatement and outrageousness is unique, and oddly appealing.
  27. Jed Rothstein’s very entertaining documentary is another horror story from the tulip-feverish world of tech startups.
  28. With its really smart deep dives into cultural criticism, this is a seasonal stocking overflowing with spooky fun.

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