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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    • 67 Metascore
    • 60 Critic Score
    Cinderella
    Branagh and Weitz stick lovingly to the legend throughout; and while it might have been nice to see the new-model Cinderella follow Frozen’s progressive, quasi-feminist lead, the film’s naff, preserved-in-amber romanticism is its very charm.
  2. In the Heart of the Sea
    Director Ron Howard does a solid job of getting the smell of salt off the page and into the picture. The first half works quite well simply as a procedural, but when the action comes we run into trouble. The well-earned seriousness is washed away as we’re broadsided by B-movie tropes.
  3. For Those in Peril
    The movie is intensely acted, with a sense of interior longing possibly inspired by Terrence Malick, but it is also sometimes contrived and straining self-consciously for dramatic mood and moment.
  4. In the Name Of
    Co-writer/ director Malgorzata Szumowska, improving upon 2011's Elles, downplays the conflicts in a scenario apparently ripe for torrid melodrama, allowing the story and characters to reveal themselves at their own pace.
  5. Wilde Salomé
    Too much chaos ultimately prevails, but the rehearsal sequences at least forsake vapid luvvie-isms for close, instructive study of how to pull the best out of actors and text alike.
  6. Days of Grace
    It's a confident, well-made film that ends up in a blind alley of cynicism.
  7. I Am Divine
    Schwarz offsets the camp with a sincere appreciation of both the obvious, larger-than-life personality and this performer's oft-overlooked skills.
  8. One Chance
    The movie is strongest is when it strips away the facts and focuses on the emotional notes.
    • 59 Metascore
    • 60 Critic Score
    Running from Crazy
    The only new titbit of information for Hemingway-philes is that none of his grandchildren read his books.
  10. The Quiet Ones
    The arrestingly fierce Cooke, in particular, is surely a star in the making.
  11. Faust
    This Faust is part bad dream, part music-less opera: sometimes muted and numb, though with hallucinatory flashes of fear.
  12. Milius
    Fantasy invigorates reality in this fond retrospective of the director who embodied the renegade heart of 70s Hollywood.
  13. Weekend of a Champion
    The movie has some real archival value and the simple juxtaposition of Polanski and Stewart – the oddest couple in Cannes, surely – has a surreal impact. But I wonder if there isn't something a little bit placid and self-satisfied about the film, which is paced remarkably slowly, given the subject matter.
  14. Mission: Impossible - Rogue Nation
    A sequel that is slick with silliness, but peppered with enough wit and peril to sustain the franchise’s momentum.
  15. Paddington
    Full credit to the film-makers, who manage to map their digital bear against his human co-stars and marry Bond’s antique conceit to a high-concept story.
  16. In Fear
    Lovering coolly sticks to a rule often disregarded by horror movies looking for an instant scare: the weird, tense build-up is just as disturbing as the reveal.
  17. Dumb and Dumber To
    I’d be lying if I said this movie didn’t crack me up on more than a few occasions.
  18. Anton Corbijn Inside Out
    At times it looks like a parade of celebs, but the film comes belatedly to the point when it discusses Corbijn's parents, particularly his late father, whose approval Anton sought but perhaps never quite got.
  19. The Purge: Anarchy
    The franchise is a low-risk work-in-progress, but DeMonaco is improving as a shotmaker.
  20. St. Vincent
    There is a contrivance to both story and script that grates, rubs up against Murray’s appeal as a loose cannon.
  21. Lucy
    The end of the movie goes completely off the rails, but in a way that is charming in its stupidity.
  22. Big Bad Wolves
    The actors lend it a sick heft, and there are droll, region-specific footnotes...but one senses the sniggering film-makers playing variably funny games with our phobia of pedophiles, rather than having anything lasting to say about it.
  23. The Raid 2
    The Raid 2's faults are not in Evans's technique – he's unusually adept at capturing the art of violence. Instead, the film suffers from too much potential.
  24. Exodus: Gods and Kings
    It is half turkey, half triumph.
  25. Kill the Messenger
    It’s a great story that lends itself to some striking scenes. Yet the film in total – if I may paraphrase Webb’s critics – has a number of holes.
  26. Birdman or (The Unexpected Virtue of Ignorance)
    There’s no doubt it makes for a jubilant ride, a galvanic first blast. But it remains a film which feels deeply thought rather than deeply felt; a brilliant technical exercise as opposed to a flesh-and-blood story.
  27. Big Eyes
    Certainly we care for Margaret and the way Walter has her trapped, but her character comes across as a cypher representing a great number of issues without being a real individual. This movie wants to be an oil painting, but ends up being more of a mass-produced, though good-quality print.
  28. The Giver
    By the end of the movie few won’t be rolling their eyes or checking their watch, but there’s enough that’s fundamentally good in the meat of film not to wholly reject what The Giver is giving us.
  29. Far from the Madding Crowd
    There is ultimately something very unbalanced in this movie: the female lead and one male support are outstanding; another supporting male is fine and the third is frankly uncomfortable and miscast.
  30. God Help the Girl
    God Help the Girl comes loose and easy, verging on the slipshod. It's warm and generous, verging on the sentimental; a film that crystallises the best and worst of Belle and Sebastian's songwriting skills.
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