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. Hercules
    There are some rousing battle scenes, preceded by stirring addresses on the subject of going to Elysium – all cheekily borrowed from Ridley Scott's "Gladiator."
  2. Lucy
    The end of the movie goes completely off the rails, but in a way that is charming in its stupidity.
  3. Horns
    Horns plays instead like a high concept beer advert – breezily stylish, memorable in its time, but a bit too full of gas.
  4. Salvo
    Salvo is a strange, involving, if flawed movie.
  5. The Green Prince
    Schirman's film (produced by the team behind Man on Wire and Searching For Sugarman) is as gripping as any high-concept Hollywood thriller and as psychologically knotty as Greek tragedy.
  6. Honour
    It's as if the film-makers felt they couldn't deliver the didactic lesson unless they wrapped this up in pulpy, thriller trappings.
  7. Beyond the Edge
    It's a testament to the film-making that, despite the fact that we know the outcome, there's a great sense of relief when they finally reach the summit.
  8. Marius
    Not just cinéma de papa, but cinema de grand-papa.
  9. Deliver Us From Evil
    This is television-level moviemaking top to bottom, from its preposterous premise, scenery-chomping performances, idiotic sound cues and force-fed jump-scares. Deliver Us From Evil delivers formula, and in a formulaic fashion.
  10. Dawn of the Planet of the Apes
    Just as 2011's Rise of the Planet of the Apes surpassed expectations, so this sequel delivers on its promise and leaves us wanting more – which we'll almost certainly get.
  11. Fanny
    Auteuil has fashioned hidebound museum pieces that expand the backdrop with sun-dappled glimpses of port activity, while generally resisting any notes of modernity or change of emphasis. What modicum of cosy Sunday-afternoon pleasure they provide stems from the performers.
  12. Archipelago
    There is something exacting and audacious in it, something superbly controlled in its composition and technique. The clarity of her film-making diction is a marvel – even, or perhaps especially, when the nature of the story itself remains murkily unrevealed.
  13. Unrelated
    As if from nowhere, a first-time British film-maker has appeared with a tremendously accomplished, subtle and supremely confident feature, authorially distinctive and positively dripping with technique.
  14. Postman Pat: The Movie
    I'd never want to stand in the way of artists pushing things, but messing with Postman Pat is probably a step too far.
  15. Da Sweet Blood of Jesus
    Da Sweet Blood of Jesus isn't entirely successful – and certainly offers few new insights into the nature of addiction – but it remains a welcome change of pace.
  16. Me and You
    A slight but engaging two-hander.
  17. Yves Saint Laurent
    The film's purpose is the reverent mystification of everything that avowedly makes YSL special.
  18. Snowpiercer
    The way the allegory works out is not exactly subtle or unexpected, but is strangely moving, despite the gruesomeness that has gone before. All in all, a treat.
  19. Fonzy
    Watch all of them back to back and it's the tiny details that start to become fascinating, like the way Fonzy's version of the climax is fractionally less sentimental, how lead Garcia is more sympathetic than Vaughn but less engaging than Starbuck's schlubby Patrick Huard.
  20. The Young and Prodigious T.S. Spivet
    The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
  21. Exhibition
    Exhibition is challenging, sensual, brilliant film-making.
  22. 22 Jump Street
    It certainly provides that rarest of things: relaxing enjoyment. In all its uncompromising goofiness, 22 Jump Street brings onstream a sugar-rush of entertainment.
    • 69 Metascore
    • 80 Critic Score
    The Fault in Our Stars
    The film works on only one level, but so completely on that level that the rest doesn’t seem to matter: Woodley and Egort have terrific chemistry.
  24. Jimi: All Is by My Side
    The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.
  25. Willow Creek
    As a horror film using that now-tired device, "found footage" supposedly shot by the characters themselves, it's quite passable.
  26. Edge of Tomorrow
    It is basically deadly serious, and after some moderate knockaboutfun, settles into something pretty dull. Where's the edge?
  27. The Blue Room
    Amalric's handling is cool, studied and perhaps a little self-conscious. But he does a good job of showing how adultery is a noose that tightens at the throat even before an actual crime is committed - at which point the film grows altogether less interesting.
  28. White God
    White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
  29. Grace of Monaco
    It is a film so awe-inspiringly wooden that it is basically a fire-risk. The cringe-factor is ionospherically high.
  30. Lost River
    It is colossally indulgent, shapeless, often fantastically and unthinkingly offensive and at all times insufferably conceited. Yet it is frustrating precisely because it sometimes isn't so bad. There is something in there somewhere - striking images and moments, and the crazy energy of a folie de grandeur.
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