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. Fall is the rare three-drinks-in “what if?” elevator pitch that somehow survived the journey to the big screen, made with unusual precision and punch.
  2. There’s perhaps not enough new material to justify a re-release, but as a whole it’s still great, and a reminder of just what a class act Michael was.
  3. What makes the film so engrossing is how much attention the film-makers give to Lee’s complicated life after prison.
    • 83 Metascore
    • 80 Critic Score
    Pennebaker's film, running just under an hour, is revelatory in getting under the skin of the main players. And the director's opening revelation will exasperate musical-theatre nerds as we hear that this was the pilot for a whole series on original cast recordings that never got made. [15 Sep 2021]
    • The Guardian
  4. At times I wondered if the film is a bit too tasteful and tactful about the pain that Halim and Mina have to suppress, but still it’s a hugely compassionate and emotionally satisfying movie.
    • 79 Metascore
    • 80 Critic Score
    It's a piece of almost instant history – and, as such, it gets the technical and cultural details of military life spot on.
  5. It’s another film to leave you sighing over New York’s lost 70s heyday of gritty reality and creativity and danger.
  6. It has a stubborn, almost literary feel for character that accumulates a baleful momentum by the time the finale hits.
  7. It’s a deeply uncomfortable film but also weirdly gripping.
  8. Its outsized mean girl ruthlessness with a candy-coated shell, led by Mendes and Hawke’s commanding performances, is a biting, if overlong, good time.
  9. This documentary is a spirited rebuke to the “sellout” narrative which has been allowed to grow up around his career, and a paean of praise to his commitment, talent and heroism.
  10. Rosaline . . . understands what makes a good adaptation: a sense of humor at least on par with if not exceeding the original, lighthearted lines with serious delivery, crackling romantic chemistry. And in the case of Rosaline, an unmissable lead in Kaitlyn Dever as a lovelorn medieval schemer left on read.
    • 71 Metascore
    • 80 Critic Score
    For those of us who like to immerse ourselves in sense-assaulting love stories, this 1957 Leo McCarey classic is as good as it gets.
  11. The director is Christopher Nelius, himself a surfer, who has done a brilliant job with editor Julie-Anne De Ruvo of assembling the archive to capture the sport at a moment in time, all youth and energy. Smartly, he lets this exceptional group of funny, tough, talented women surfers, now in their 50s, do the talking.
  12. Empire of Light is a sweet, heartfelt, humane movie, which doesn’t shy away from the brutality and the racism that was happening in the streets outside the cinema.
  13. It is a thoroughly intelligent production, a film festival event that could not exist in the rough-and-tumble of regular movie distribution but will I hope find a home on streaming services.
  14. Everything about this film is genuinely absorbing. The performances are restrained. The locations, many of them seemingly on the Perry Studios lot, are lush. The musical numbers are decadent . . . The storytelling is efficient, the scenes well-paced, the command of social and racial politics ironclad.
  15. All Quiet on the Western Front is a substantial, serious work, acted with urgency and focus and with battlefield scenes whose digital fabrications are expertly melded into the action. It never fails to do justice to its subject matter, though is perhaps conscious of its own classic status.
  16. Goldin shows that maybe there is always more bloodshed than beauty.
  17. There’s real intimacy and emotional generosity to this psychological mystery from Joanna Hogg – a personal movie which appears to come from the same universe as her earlier Souvenir films – or one very much like it.
  18. Here, the pipeline destroyers are the good guys; an interesting genre twist though one which arguably defangs the film, just a little, removing the addictive flavour of cruelty and chaos, yet not making it any the less gripping and ingenious.
  19. Like Panahi’s recent films This Is Not a Film and Taxi Tehran, this is powerful because of its control, subtlety and diplomatic finesse.
  20. Luxuriating in a wealth of archival material that encompasses radio and TV interviews, privately recorded conversations from reel-to-reel tapes (Armstrong could swear like a sailor), and good old-fashioned newspaper clippings (remember them?), this documentary about the great Louis Armstrong is a real keeper.
  21. In a world marred by political hopelessness, Dry Ground Burning literally and figuratively sets the landscape on fire, and out of the ashes there is hope for a new order free from oppression.
  22. Love and sex, two things taken so casually for granted in so many different kinds of story, here become totemic articles of faith. Lady Chatterley still has the power to move.
  23. Love Life is an inexpressibly tragic and painful human drama about complicated lives, a movie that interleaves the utter desolation with a dry understated comedy and a sense of emotional tangle and chaos, a film that moreover blindsides its leading female character – and us, the audience – with an entirely unexpected coda section.
  24. This is a tremendously crafted, impeccably intelligent film.
  25. Photographer and film-maker Anton Corbijn is the very best person to direct this very enjoyable documentary about design outfit Hipgnosis and its dynamic co-founders Aubrey “Po” Powell and Storm Thorgerson.
  26. The implacable forces of nature, nurture and destiny are what this movie grapples with; it is a really emotional and absorbing drama about adoption with terrific performances (many from nonprofessional first-timers) and compelling soundtrack musical cues.
  27. It’s almost too perfectly contoured as a Hollywood narrative.

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