The Guardian's Scores

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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:
  1. Positive: 2,500 out of 6601
  2. Mixed: 3,782 out of 6601
  3. Negative: 319 out of 6601
6601 movie reviews
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  1. Simon Killer
    Brady Corbet is excellent as thoroughly unlikable Simon.
  2. The Evil Dead
    You could say this is all good gory fun, and The Evil Dead remains a triumph of brains over budget. But in retrospect, you can’t help wondering if Raimi and co didn’t have some women issues to work through?
  3. One Life
    Quite a spectacle, and a nice family outing.
  4. The East
    The East – a sleek thriller clogged by its noble message – heads south. It becomes sanctimonious, makes you contrary. I left craving a Big Mac.
  5. The Boxtrolls
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
  6. Hunky Dory
    Marc Evans's Hunky Dory is sentimental, sweet-natured and daft as a brush.
  7. From Up on Poppy Hill
    It's a light, breezy 1960s-set coming-of-age tale that strives to convey something of how Japan rebuilt itself after the traumas of the second world war.
  8. Reality
    It's a likable film played with gusto and heart — though fundamentally a little sentimental and predictable.
  9. The Sapphires
    It's an amiable film with some great musical moments and the classic "growing success" montage showing them on the road in south-east Asia. On music, identity and race, the film has a big beating heart in the right place.
  10. Mental
    It's always a pleasure to see Collette, a performer who always cranks up the energy, and yet here, as so often, she gives the impression of a ferocious screen intelligence somehow not being used to the full.
  11. Electrick Children
    Rebecca Thomas's gauzy debut about a 15-year-old Mormon who believes she's had an immaculate conception after hearing a cover of Blondie's Hanging on the Telephone is so deftly done it's three parts enchantment to one part irritation.
  12. In the House
    A black-comic psychological drama with poise and self-possession. Featuring Fabrice Luchini and Kristin Scott Thomas, how could it have anything else?
  13. The Kings of Summer
    The director's background in online shorts manifests itself in an occasional, montage-heavy scattiness, and the broadly conventional closing act can't quite maintain the laugh rate, but there's a lot of warm-hearted and commendably daft business along the way.
  14. Adventures of the Penguin King
    There are some nice images of the teeming penguin population, and great fun to be had witnessing the love life, and indeed sex life, of penguins. It does have to be said, though, there is a fair bit of Disneyfication going on.
  15. The Bling Ring
    The final notes of irony and repudiation may be laboured and obvious, but this is an intriguingly intuitive and atmospheric movie.
  16. The We and the I
    Gondry's argument – that pack mentality crushes individual expression – follows a similarly predictable route, but there's enough of his signature playfulness (especially in the use of mobile-phone footage to present flashbacks) to keep the journey entertaining.
  17. Insidious: Chapter 2
    Wan remains a crafty enough director to draw your eye warily across the frame. You shouldn't feel so daft for flinching this time.
  18. V/H/S/2
    There are some dull stretches here, but also some grisly instant hits: nasty, deplorable, vulgar and sometimes brilliant.
  19. Everybody Has a Plan
    It certainly doesn't bore.
  20. Interstellar
    It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.
  21. Jupiter Ascending
    It’s all very chaotic and entertaining, like a bizarre cult sci-fi TV show that somehow survived a threat of mid-season cancellation.
  22. White Elephant
    For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
    • 76 Metascore
    • 60 Critic Score
    We Steal Secrets: The Story of WikiLeaks
    The latest documentary to roll out of the Alex Gibney factory looks at the life and times of the crusading website and explores related themes such as freedom of information and the moral responsibility of activism, but is far less illuminating about its silver-haired standard-bearer.
  24. Dog Pound
    Perhaps this tells us nothing new about life on the inside in the US (there are rapes, riots and suicides), but it at least handles its brief with pace and precision.
  25. Midnight's Children
    The movie's pace flags a good deal once Bangladesh has been born in 1971, and the adult characters are much less interesting than their child counterparts, but there's enough here to entertain – and to send audiences back to the book.
  26. Venus and Serena
    The sisters themselves reveal a little, mostly because of Serena's unguarded imperiousness; but as a study of sports supercelebrity it's a tad subdued.
  27. Sightseers
    Sightseers is funny and well made, but Wheatley could be suffering from difficult third album syndrome: this is not as mysterious and interesting as Kill List.
  28. Finding Dory
    The problem with Finding Dory is it doesn’t know when enough is enough. Its believe-in-yourself message is pounded with the subtlety of a hammerhead shark and the final action sequence is really too far-fetched to fathom.
    • 67 Metascore
    • 60 Critic Score
    Crystal Fairy & The Magical Cactus
    Crystal Fairy is an acid trip where the frequent bonhomie is doused by sobering introspection.
  30. Austenland
    It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.
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