The Guardian's Scores

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:
6594 movie reviews
  1. What DAU. Natasha shows is the bizarre way that, in totalitarian societies, the normal and the abnormal, the banal and the grotesque, and the human and the inhuman live together side by side.
  2. There’s something refreshingly blunt about what Together is trying to say about the dangers of codependency, a film too busy having fun to waste time writing a self-satisfied dissertation.
  3. Ozon has made a decent and valuable film, though it often seems like the drama part of a docudrama: some of the scenes feel like respectful re-enactments that could have gone into a documentary.
  4. Martin Eden is a sad story of a sad man who lacks the capacity for happiness and who is astonished to find that artistic success is as compromised as any other kind. But there is a kind of thrill in tracing his progress from rags to riches to annihilation.
  5. It’s a huge aspartame rush of a film: a giant irresistible snack, not nutritious, but very tasty.
  6. It’s a lovely slice of life, a heartfelt New York story – and judging from the brief burst of writing that we are permitted to hear, the postman can rest easy whether he is on stage or at work.
  7. In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.
  8. Each new sentence adds more: more complexity, more woman.
  9. Hepburn is in the boho-gamine mode, and this has a brittle charm, (arguably more than in Breakfast At Tiffany's four years later) but there is something unconvincing in the May-to-December pairing of 28-year-old Hepburn and 58-year-old Astaire and also something grumpy and not particularly classy about the way this film shrieks with laughter at silly modern women filling their empty heads with trendy Parisian intellectualism.
  10. I would have loved to hear Kennedy on the tricky subjects of fusion cuisine or cultural appropriation. But there’s more than enough here to get your teeth into.
  11. The film lets you appreciate Hadid’s delicate and complex situation.
  12. The result is a rather stagey film whose back projections look quaint, with 3D apparently used to foreground items of furniture, such as table-lamps, giving rise to some eccentric camera-angles. But the set-up is ingenious and the "kill" scene genuinely thrilling. [2013 3D Release]

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