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 pace, which had been so tightly controlled in the first two films, is a curious mess, starting off painfully slowly, then rushing when it really matters.
  2. Out 1: Noli Me Tangere is confounding at every level.
  3. McCullin emerges as an unsentimental, plain-speaking, thoughtful man, disgusted at the inhumanity of war – and yet candid about how he is also personally and professionally drawn to its drama.
  4. It’s a crunching disappointment: a dull, crass, formulaic and frankly misjudged chiller.
  5. Director Jill Soloway's comedy-drama isn't perfect – the leitmotif about open eyes feels over-workshopped, and the ending's a bit pat – but it nails with self-lacerating precision the manners and mores of a certain type of hipster parent, the bourgeoisie's muddled attitudes towards sex workers, and the precarious foundations of friendship.
  6. The endgame is disappointingly predictable, but writer-director-cinematographer Jeremy Saulnier has a lovely touch with faces, light and telling details.
  7. The script is smarter than the premise sounds, with writers David Chirchirillo and Trent Haaga dispensing enough information to make victims both sympathetic and despicable, the instigators charismatic and sinister.
  8. Admittedly, there are a lot of documentaries like this, made by citizen journalists recording uprisings in their homelands, but this is one of the best of the recent crop, and a timely reminder of a conflict that's slipped out of the headlines of late.
  9. The result is an amusing, and occasionally touching meditation on fame, sibling rivalry and ambition, with a sweet payoff.
  10. Ultimately, it's mostly a mood piece where not much really happens apart from the inciting incident, but as a study of childhood and adolescence (it makes a great companion piece to Richard Linklater's Boyhood) it's ripe with telling details and atmosphere.
  11. Essential viewing for anyone interested in what freedom of information means in the digital age, this passionate, fascinating, unapologetically partial but fair documentary celebrates Aaron Swartz.
  12. Putting aside the worthiness of its politics, this is also a crackling, tense thriller, graced with beautifully measured performances, that explores with wisdom and sorrow the best and worst in human nature.
  13. Fans of the band will undoubtedly love the package, which puts the group front and centre. Those who are more agnostic about the music but nostalgic for the period will enjoy the peripheral material.
  14. You can’t help feeling you’ve seen variations on this coming-out story too many times (which applies to the gay theme as much as the disability one), and everyone is just a little too nice to be true, even the bullies.
  15. McGregor, who is having a bit of comeback moment right now, is kind of great as the ruthless antihero, and the action set pieces have plenty of fizz.
  16. Byrkit’s parable about choices and how they make us who we are has an eerie potency.
  17. The fight scenes are terrific, but the haphazard plotting, off-the-peg characterisations and drippy music elsewhere lack flavour.
  18. A banal and credulity-stretching finale that feels like a bad Twilight Zone episode, but the first hour or so is terrific.
  19. It’s tremendously reassuring to find out that Spinney is just the sort of kind-hearted sweetheart you’d expect, a man who’s spent a lifetime making children happy. And it’s a kick to see archive footage and interviews with some of the old, non-puppeteer cast members.
  20. It’s an immensely likable movie, impeccably acted and wise about the nature of exile.
  21. Folky music and Studio Ghibli-level flights of eerie fancy are obvious pleasures, but even more subtle and entrancing is the way Moore and his team use echoed shapes to suggest hidden patterns in nature and parallels between the real and the mythical.
  22. The use of video diaries and the expository speeches are painfully on the nose at times, and dramatically spins a bit out of control by the end, while some of the acting is patchy. Still, one can’t but fail to be impressed with the film’s commitment to investigate its issues with subtlety and frankness.
  23. Fashioned out of well-worn, if not hackneyed, horror tropes, Demonic is no meta-level deconstruction of the genre, but it’s a more than competent, fugue-like manipulation that freshens familiar components with a tricky structure.
  24. There’s no doubting Heineman and his crew’s audacity as they venture close to the line of fire, but the commitment to observing dispassionately at all times starts to feel a bit like a cop-out.
  25. There’s no missing the polemical points being made or doubting the film is meant to inspire further action, but even hardened whale-eating oil oligarchs are likely to be charmed by the idealism and smarts of these audacious activists.
  26. Dense thickets of information, told via rostrum-shot photos and documents plus angry mob’s worth of witnesses, become a grind after a while, as does the trite guitar-led mystery music.
  27. Animator Raul Garcia’s 70-minute anthology of five Poe stories, Extraordinary Tales, has its moments, and will be a welcome respite for any middle schooler sitting through a boring lecture. But if we were ever asked if we wanted a second viewing, we’d have to quoth the raven: nevermore.
  28. It’s a test of one’s tolerance for watching predominantly empty frames – the anonymous performers scarcely count – in the hope something will jolt us from mounting tedium.
  29. Amusingly tacky and offensive though it is, proceedings grow a bit monotonous, because all the tunes have pretty much the same beat and everything is pitched at the same hysterical, OTT level.
  30. So bogged down by form, Franco fails to get his head up enough to think about content.

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