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. 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.
  2. Hector and the Search for Happiness
    Whatever enlightenment there is here proves far too easily gained. Keep looking, folks.
  3. 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.
  4. 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.
  5. Million Dollar Arm
    Hamm and Alan Arkin's grouchy scout conclude these deals with unarguable professionalism, but we can spot the manoeuvres required to magic neocolonialist playbook into heartwarming fairytale.
  6. If I Stay
    The smart cast occupy themselves with the dog-eared emotions scattered around the waiting rooms.
  7. Watermark
    It’s not as focused as its predecessor, but its best sequences rehydrate the mind.
  8. The Boxtrolls
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. While We're Young
    An almost perfect 90-minute hit of confident and inspired comedic commentary.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Pasolini
    It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  19. Nightcrawler
    From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.
  20. 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.
  21. 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.
  22. 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.
  23. A Little Chaos
    It has to be said, the performances are excellent. Winslet manages emotional honesty within anachronistic confines, and Schoenaerts escapes with dignity.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. Cake
    Aniston’s drab-act is diverting, but it’s not enough to sweeten a character who is one hell of a pill.
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