The Guardian's Scores

For 6,601 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:
6601 movie reviews
  1. The sheer sustained intensity of the drama and performances carry it through.
  2. This movie really brings some gobsmackingly weird and outrageous spectacle, with moments of pure showstopping freakiness. Eventually it loses a bit of focus and misses some narrative targets which have been sacrificed to those admittedly extraordinary set pieces.
  3. The Club sees the film-maker at his most masterful, steering the picture through complex tonal shifts without letting it capsize into hysteria, even when the characters do.
  4. The character dynamics are still as rich as when Sherriff first realised them, and C Company’s supporting servicemen add a few complementary hues to this portrait of militarised despair.... And yet Dibb’s direction doesn’t leave the actors enough room to breathe.
  5. Claire Denis’s new film is a seductively indirect love triangle, a drama of the mind as much as the heart. It’s intriguing if contrived and anticlimactic, though acted at the highest pitch of sensual conviction.
  6. Even though Share wraps up within a slim 90 minutes, Bianco does struggle to sustain her premise until the end, especially in the final act, as beats start to feel repeated and our investment starts to waver.
  7. What Dream is Destiny makes clear is that commercial success really isn’t everything, and that being a director who isn’t bothered by it can lead to a singular if perhaps undervalued career.
  8. It is a desperately unhappy story, sympathetically told by film-makers Kristina Lindström and Kristian Petri.
  9. I still can’t be convinced that Megalopolis is anything other than an (honourable) failure. But Figgis’s documentary is an absorbing success.
  10. It’s a decent tennis movie, solidly told and choreographed, but it’s in the film’s depiction of a same-sex romance between King and her hairdresser, played beautifully by Andrea Riseborough, where things truly comes alive.

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