The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. Going Away
    Director Nicole Garcia strains to give this pablum social grounding, but hair and make-up overtake her.
  2. De Palma
    So many documentaries about artists just want you to accept that their subject is an innovator. De Palma breaks it down and shows you why he is.
  3. Deathgasm
    A dopey splatterfest that features one-dimensional characters and a draggy first act that’s eventually won over by creatively immature gross-outs and absurd violence.
  4. Nostalgia for the Light
    It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  5. Northern Soul
    Every other scene showcases a northern treasure (Coogan, Thomson, Tomlinson, Stansfield) and looks, feels and – crucially – sounds true to its sweaty-hazy, slightly cramped corner of history.
  6. Labyrinth of Lies
    While the topic of mass delusion is fascinating, this film is too unfocused to turn it into compelling drama.
  7. This Changes Everything
    A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.
  8. The Walk
    The story The Walk tells is, admittedly, an unbelievable one, so it’s understandable Zemeckis should choose to leave subtlety at the door. Sadly, such an approach strips the film of tension, especially at the crucial moment.
  9. Life
    Pattinson gives what is simply a dull performance in a dull role: something in the casting and conception is wrong from the outset. Maybe he would have been better as Dean.
  10. Captive
    The actors are committed – Mara, generally waif-like, appears frail indeed – but there’s barely anything worth committing to.
  11. Palio
    It is a handsome-looking film, though it has a promo look to it occasionally, like a lavish tourist ad. I loved the horse’s-eye view Spender gave us at one stage, careering around the track.
  12. Hotel Transylvania 2
    By the end of this 89-minute film, I was absolutely on the edge of my seat. Not due to suspense, but due to my utter disdain for the infantile plotting.
  13. The Green Inferno
    The Green Inferno will be gleefully offensive and unpalatable to mainstream audiences, who may be more similar to The Green Inferno’s victims than they’d like to think. No one could accuse Roth of lacking guts – even if he hasn’t found the perfect recipe for them.
  14. The Reflektor Tapes
    It’s flabby and repetitive, but peppered with moments of exquisite sonic lusciousness – not unlike the album itself.
  15. Mustang
    While the subject matter is enraging, the film is not without warmth and occasional levity.
    • 63 Metascore
    • 80 Critic Score
    Brand: A Second Coming
    Even if you’re cynical about Brand’s motives, or just think that he’s a bit of berk, the film convinces you of the almost alarming sincerity of his political mission.
  17. The Intern
    The bulk of The Intern is a morass of wackiness, a chain of sequences shot in a flat and predictable manner that range from tedious to idiotic.
  18. Mission to Lars
    The peripheral interviews with the extended Spicer family are as compelling as the central quest; this is a film with rare honesty and nuance in a field that frequently feels queasy.
  19. Meadowland
    What Meadowland refuses to do, to its great credit, is conform to expectations.
  20. Remember
    The inept script... makes for a perfect bedfellow with Egoyan’s flat TV movie direction and an overwrought score that sounds like a drunk impression of Bernard Herrmann.
  21. Rabin, the Last Day
    Gitai has chosen stylistic cinema over propaganda, and he is a director who regularly gets bogged down a bit in form.
  22. London Fields
    Novelistic, rich and awfully silly, London Fields – like Ben Wheatley’s take on High Rise - is a long-awaited adaptation of a popular and gloomily prophetic book, that seems unnecessary.
  23. Lolo
    This romp is just embarrassing.
  24. Mr. Right
    Mr Right is Grosse Pointe Blank meets Dexter. Liman meets Tarantino. Derivative idea meets sloppy execution.
  25. Sunset Song
    It’s all fairly indulgent. But Sunset Song also has a viciousness that stops it falling too deep into a slumber
  26. The Lady in the Van
    Smith’s performance, honed from the previous stage and radio versions, is terrifically good.
  27. Into the Forest
    Patricia Rozema’s drama doesn’t burrow deep into its end of world scenario.
  28. In Jackson Heights
    It’s an engaging portrait - film-making which works from the ground up.
  29. Hardcore Henry
    Naishuller’s technique is one that could be well served as a shorter gimmick; a solitary action scene in a larger film. Hardcore is unrelenting and unforgiving in its commitment to be loud, fast, destructive and gross.
  30. Francofonia
    Francofonia is a fascinating essay and meditation on art, history and humanity’s idea of itself.
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