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. Watermark
    It’s not as focused as its predecessor, but its best sequences rehydrate the mind.
  2. The Boxtrolls
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
  3. 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.
  4. Gone Girl
    Gone Girl, finally, may be no more than a storm in a teacup. But what an elegant, bone-china teacup this is. And what a fearsome force-10 gale we have brewing inside.
  5. Red Army
    Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.
  6. The Maze Runner
    The Maze Runner is not a good movie, but it wins points for omitting much of what makes typical teen films excruciating.
  7. While We're Young
    An almost perfect 90-minute hit of confident and inspired comedic commentary.
  8. The Theory of Everything
    It's a film to leave you reeling but cheered, too. It's about battling love, as well as illness. A universal story, extracted from a unique one.
  9. The Riot Club
    The Riot Club hands its audience a ticket, as well as a free pass to pour scorn over proceedings. That's a double-bill which should prove pretty irresistible.
  10. A Pigeon Sat on a Branch Reflecting on Existence
    What a bold, beguiling and utterly unclassifiable director Andersson is. He thinks life is a comedy and feels it’s a tragedy, and is able to wrestle these conflicting impulses into a gorgeous, deadpan deadlock.
  11. Pawn Sacrifice
    Maguire flails around obligingly, happy to trade amiability for a decent fist at capturing the difficult, prickly Fischer. But he can’t quite carry it off, and the way the script dances around the edge of his illness, exploring the surface symptoms without trying for deeper psychology, leaves the actor exposed.
  12. Pasolini
    It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  13. Nightcrawler
    From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.
  14. Men, Women & Children
    A huge improvement on the muddled melodrama of Labor Day, Men, Women and Children is still a flawed Jason Reitman film. Its scope is too big, his ambitions too high.
  15. Madame Bovary
    The presence of Sophie Barthes behind the camera does not amplify sympathy for our heroine. Rather, the opposite: if anything Barthes seems less in her allure, less tolerant of her tiffs, full-throttle with the vanity and the selfishness.
  16. Love & Mercy
    It’s creative and experimental in just the right spirit, though with an asymmetric flaw. The film is a kind of diptych in which one of the panels is more fully achieved than the other.
  17. A Little Chaos
    It has to be said, the performances are excellent. Winslet manages emotional honesty within anachronistic confines, and Schoenaerts escapes with dignity.
  18. Hungry Hearts
    It is a tense, claustrophobic nightmare, played with sincerity and force, particularly by Adam Driver. But a strident orchestral score keeps intruding, dark chords telling us how scared we ought to be, and it is as if Costanzo is not content with an ultra-real relationship drama, and wants his film to be some kind of heavy-handed horror-thriller too.
  19. Goodnight Mommy
    Perhaps a more unassuming genre director would have tightened this movie’s cables a little, so that it had more tension and less revulsion. At all events, it delivers some nasty shocks.
  20. Good Kill
    Niccol creates an atmosphere that is airless and dull, an unusual tone for a modern war film, but one that fits the subject matter perfectly.
  21. Eden
    Hansen-Løve has an acute eye for the details of Paul’s world. Glamour is twinned with mundanity, beauty with boorishness and friendship with selfishness, while artistic endeavour is undercut by self-indulgence.
  22. The Duke of Burgundy
    The Duke of Burgundy will have its detractors. But this is not just a filthy movie. It's a considerable work of art, and one that touches on a rarely discussed side of human sexuality completely free of judgement.
  23. The Cut
    It’s a big, ambitious, continent-spanning piece of work, concerned to show the Armenian horror was absorbed into the bloodstream of immigrant-descended population in the United States, but it is a little simplistic emotionally.
  24. Cake
    Aniston’s drab-act is diverting, but it’s not enough to sweeten a character who is one hell of a pill.
  25. The Hole
    With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.
  26. Believe
    Cox's guardedly avuncular turn might have sustained a more rigorous endeavour, but the attempt to evoke the trauma of the Munich air disaster is rendered wholly insupportable by the trifling hooey around it.
  27. This Is Where I Leave You
    This is Where I Leave You is totally aimble, utterly unmoving filler given a major shot in the arm by its cast, people it’s simply a pleasure to watch, even with the creeping feeling they’re better than this.
    • 76 Metascore
    • 60 Critic Score
    The Guest
    It all escalates into an arch, knowing throwback to 80s horror-thrillers that's muddled in parts but never less than entertaining.
  29. Wild
    Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.
  30. The Imitation Game
    What Cumberbatch delivers is an impressively rounded character study of someone variously kind, prickly, aggressive, awkward and supremely confident. But it's almost too nuanced. Accuracy isn't all, but fumbling in the dark isn't always fun.
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