The Guardian's Scores

For 6,554 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:
6554 movie reviews
  1. The film is pitched with insouciant ease and a lightness of touch at both children and adults without any self-conscious shifts in irony or tone: it’s humour with the citrus tang of top-quality thick-cut marmalade.
  2. The script’s nuanced treatment of the complex relationships and a feel for the many-faceted, multicultural city in which it’s set – a unique urban blend of hedonism and tradition, bound together by hummus and history – redeem any shortcomings.
  3. Why drag the franchise back now? The screamingly obvious answer is sheer cash-grab cynicism. Or perhaps it’s to cater to the generation of kids who’ve grown up riding the Saw-themed roller coaster at Thorpe Park. Either way, it’s depressing.
  4. Hall’s marching in lockstep with a lengthy platoon of directors who have already blazed this same path through enemy territory. And though he’s got some upstanding troops at his disposal, his plan of attack lacks that crucial unexpected element that can take an opposing battalion – or an audience – off guard.
  5. We have been sold a false bill of goods.
  6. It isn’t nearly as deep as it thinks it is, but it is marvellously entertaining.
  7. Comic book movies have spent a long time striving to be taken as serious, grown-up entertainment but Thor: Ragnarok is almost an admission that you can’t play this material straight. This is probably the wisest strategy with Thor.
  8. The mystery remains: did the North Koreans get it? Did they not get it? Or did they choose a foggy condition of semi-incomprehension as the only state in which they could reconcile ideological piety with reaching out the hated west?
  9. It’s by no means the worst of Allen’s later films (Cassandra’s Dream remains unrivaled in that department) and the flashes of brilliance from Winslet and stunning visuals do lift it but there’s an overwhelming, existential pointlessness to it all.
  10. When the comedy becomes less of a focus and will-they-or-won’t-they drama rolls through tropey cogwheels, Alex & Eve loses some of its cheeky lustre and never quite gets its back again.
  11. It’s a serviceable, watchable thriller, with very gruesome images.
  12. There is a sincere effort to get beneath the facade of what an extremely fit twentysomething firefighter’s life is like. There’s even a possibility that the film’s first act is intentionally distancing so that the later scenes will have a bigger payoff.
  13. It’s Groundhog Day meets Scream, although lacking the first film’s novelty and the latter’s postmodern smarts.
  14. Although the treacly soundtrack overpunches on the sentiment at times, this is undeniably moving stuff – especially scenes where some of the doctors see footage of patients they helped save, still very much alive and thriving today.
  15. Una
    Rooney Mara and Ben Mendelsohn bring a controlled intensity and force – and even a twisted kind of chemistry – to this disturbing if structurally flawed movie.
  16. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic.
  17. Writer-director Attila Till’s plucky comedy-drama isn’t quite the radical representation of disability it seems to think it is, but has its heart in the right place.
    • 63 Metascore
    • 40 Critic Score
    Five Foot Two never quite shakes the feel of a longform advert for Gaga’s new phase that’s preaching to the converted.
  18. It’s slickly made but shoddily scripted, with sub-reality TV dialogue...and a range of unengaged, soapy performances. There is some fun to be had from the loud and nasty death scenes though, which allow us the pleasure of seeing self-absorbed Facebook addicts get gruesomely murdered.
  19. There’s a lingering sense of familiarity that persists and what felt fresh in the first film, and tweaked in The Lego Batman Movie, is at risk of feeling tired here.
  20. It’s a film so cartoonishly outsized that it almost renders the first film restrained by comparison
  21. Our Souls at Night is your classic Hollywood weepie, so immaculately played that it confounds crass preconceptions.
  22. Watching it is akin to be being waylaid by an expert raconteur. There is the curious sense that it has told this tale before; that every joke has been honed and rehearsed; every anecdote lovingly polished in advance.
  23. What a peculiarly dodgy, conservative film this is – a lazy salute to a good queen and her faithful Indian servant. It’s a film about the Raj era that looks as if it was made back then, too.
  24. This is not much more than a light crowdpleaser, but when you’ve got two powerhouse performers like this it is very difficult not to find oneself at least temporarily charmed.
  25. Stronger is a film filled with warmth and humanity, but one that doesn’t sugarcoat the reality that comes with it.
  26. Even in the film’s less successful moments, I admired the loose shagginess of it all.
  27. As well as showcasing the blandest and most tasteful three-way sex scene in history, this movie spreads an odd pall of sentimentality and period-glow nostalgia over a fascinating real-life story.
  28. As an unpretentious and unashamedly mainstream romantic adventure, it’s a solidly entertaining diversion, old-fashioned in its no-frills brand of storytelling and direction.
  29. Sorkin is spellbound by his subject, fascinated by the many details of her admittedly impressive life, but the magic he clearly feels fails to translate on screen.

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