The Guardian's Scores

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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:
  1. Positive: 2,481 out of 6554
  2. Mixed: 3,754 out of 6554
  3. Negative: 319 out of 6554
6554 movie reviews
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  1. Dracula Untold
    It’s no-frills, B-movie modesty might have been winning, if it weren’t so dashed-off.
  2. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    For family entertainment, you could do a lot worse.
  3. 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.
  4. Plastic
    Just occasionally, the story accelerates to a canter,and Gilbey works hard to deliver some bangs for your buck. But it soon collapses into cliches. "Plastic" just about covers it.
  5. Advanced Style
    It doesn't reflect too deeply on age and aging, doesn't dwell on the sadder and complicated side of things, and perhaps gravitates towards self-conscious eccentricity, but it's affectionate and watchable enough.
  6. Bachelorette
    Headland has comic smarts enough to venture both filthily revisionist readings of My So-Called Life and riffs on the Potsdam conference, while refusing her audience any comforting safety nets.
  7. 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.
  8. 42
    Boseman hits his key scenes out of the park, making a swell couple with Shame's Nicole Beharie, while Helgeland stages Robinson's signature base-stealing with undeniable aplomb.
  9. Endless Love
    A certain doofy sincerity – all fairy lights and lakeside kisses – and Wilde's nervy, natural responses keep matters semi-watchable. As a romance, though, it's by-the-book.
  10. God's Not Dead
    Ban this sick filth.
  11. In Bloom
    The film finds the subtle tells that suggest these free-roaming girls might themselves have become prisoners of war, while enveloping its heroines in a persuasive turbulence: unpredictable, never forced, and forever compelling.
  12. Next Goal Wins
    As an antidote to Premier League cynicism, it couldn't be bettered.
  13. In Secret
    It's imprisoned by its own glibness, grabbing for sensation over emotion, and looking silly whenever it misses.
  14. Run & Jump
    Peake, warmly sketching a woman busy fooling herself that everything will work out, and Forte, as precise as he was in Nebraska, keep it honest, and within touching distance of real poignancy.
  15. Legends of Oz: Dorothy's Return
    Even by the standards of allowance-snatching half-term filler, this is pretty indifferent.
  16. Blended
    It proves very much un film de Sandler: so lazy you feel unconscionably guilty for snorting at the three jokes in its two hours that merit any response.
  17. Aatsinki: The Story of Arctic Cowboys
    It sometimes strays off the beaten track into shapelessness, but Oreck lends individual segments a quiet fascination.
  18. A Million Ways to Die in the West
    Spiritually, it's closer to a mid-range crowd-pleaser such as City Slickers than Blazing Saddles, too enamoured of genre convention to reach for the comic dynamite.
  19. Heaven Is for Real
    Wallace permits some debate as to what this tale represents – miracle? horror show? evidence of declining anaesthesiology standards? – yet that titular conclusion depends entirely on faith: what's on screen peters out.
  20. Mariachi Gringo
    Tom Gustafson's film proves genial to a fault.
  21. The Sacrament
    Ti West's latest feels both more expansive – choppering Vice reporters into a seemingly progressive tropical utopia raises intriguing social themes – and yet a marked disappointment.
  22. 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.
  23. The Purge: Anarchy
    The franchise is a low-risk work-in-progress, but DeMonaco is improving as a shotmaker.
  24. The Nut Job
    The absence of new or sustainable ideas dooms it to instant mediocrity.
  25. Planes: Fire & Rescue
    The action is colourful, the vistas as organic as pixels will allow and, once it gets past the quickfire editing of the early stages, considered application of 3D heightens the sense of space and glide. Not much magic, but an appreciable level of polish.
  26. Underdogs
    Ping-ponging camera moves temporarily distract from the haphazard structuring and translation.
  27. Dinosaur 13
    If it all feels too anomalous to seal its case against today's big legal and corporate predators, it never lacks for diverting turns and quirks.
  28. Hector and the Search for Happiness
    Whatever enlightenment there is here proves far too easily gained. Keep looking, folks.
  29. Into the Storm
    Its destructive setpieces may loose the odd popcorn kernel on to the multiplex carpet, but it's really just an effects reel: the weather – cloudy wisps turning to massive, fiery hellblasts – is considerably better developed than its quarry. Stick with Twister.
  30. Sin City: A Dame To Kill For
    The weakness is in the material: these are second-string Miller yarns... But the vision remains uncompromising and it dazzles far more than any sequel should.
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