The Guardian's Scores

Select another publication »
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
view
per page
  1. Captain Phillips
    This a quasi-war movie set in peacetime; these men are fighting to the death, but not for nation or principle or ideology — or at least, not a conscious ideology: they are caught in larger economic currents.
  2. In the Name Of
    Co-writer/ director Malgorzata Szumowska, improving upon 2011's Elles, downplays the conflicts in a scenario apparently ripe for torrid melodrama, allowing the story and characters to reveal themselves at their own pace.
    • 48 Metascore
    • 40 Critic Score
    Emperor
    Thank heaven for Jones's reliable grouchiness, his bloodhound eyes, high-belted paunch, and deader-than-deadpan drawl offering welcome relief from the historical schmaltz.
  4. Filth
    For the first half-hour it's got a full-on horrible energy, but there isn't enough humour for it to qualify as comedy, and not enough reality or plausible characterisation to justify calling it any sort of procedural noir.
  5. Metallica: Through the Never
    In between songs there's a movie within a movie as Dane DeHaan silently takes on the forces of anarchy on behalf of the band. Awesome.
  6. The To Do List
    A few laughs.
  7. Sunshine on Leith
    A remorselessly rousing attempt to do for the Scottish pub rock twins what Mamma Mia! did for Abba or Tommy for The Who.
  8. Girl Most Likely
    Odd zingers and residual eccentricities (a Whit Stillman cameo, anyone?) stand as traces of the blast it might have been, but this cast surely signed on in anticipation of many more laughs than there are in the final cut.
  9. Hannah Arendt
    This is a formal and pedagogic production, but worthwhile nonetheless.
  10. Greedy Lying Bastards
    We call our House of Commons proceedings Punch and Judy: but the climate-change deniers on Fox News are Punch on steroids. It's a chilling and depressing picture.
  11. Smash & Grab: The Story of the Pink Panthers
    The casefile remains open, but this considered investigation matches the Panthers' bravura with an organisational flair of its own.
  12. Nothing But a Man (1964)
    An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
  13. Blue Jasmine
    After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
  14. Runner Runner
    This is a lazy, trashy film that barely goes through the motions.
  15. Le Week-End
    For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.
  16. Great Expectations
    A watchable and accessible revival, though not groundbreaking, and not quite matching the story's passionate fear and rapture.
  17. Locke
    Full credit to Hardy and Knight for making a film such as Locke. Low-budget film-makers could learn a lot from their method. And yet – having stripped away all but the bare necessities, having reduced the components to a car and a man – they make a classic error of overcompensation.
  18. How I Live Now
    A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.
  19. Child of God
    Child of God is a shocking tale of backwoods lunacy and one man's descent into hell. Perhaps the most shocking thing about it is that it's really rather good.
    • 67 Metascore
    • 80 Critic Score
    The Armstrong Lie
    Succeeds as a probing look into the mechanics of an epic lie, and because of the emotion at its heart.
  21. Under the Skin
    Under the Skin is perhaps best viewed as an icy parable of love, sex and loneliness.
  22. The Zero Theorem
    The film has a ragged charm, a Tiggerish bounce, and a certain sweet melancholy that bubbles up near the end.
    • 37 Metascore
    • 40 Critic Score
    Are You Here
    You Are Here ultimately suffers from a problem of tone. It wants to be a stoner bromance, a pastoral romcom and an incisive drama about mental illness.
  24. Philomena
    Its main focus is the sparky, shifting relationship between its two protagonists and its trump card the startling chemistry between its two main stars.
  25. Life of Crime
    It gleams with a faintly-tacky, country club sheen, as if it'd been sheep-dipped in essence of 70s and come out feeling peachy.
  26. Parkland
    If the film finally doesn't tell us anything we did not already know, the approach makes a worn-out old tragedy feel supple and urgent.
  27. Night Moves
    This director, in the past, has shown herself to be an ace with the teasing, hanging ending and Night Moves saves the best for last.
  28. Labor Day
    With its frank approach to the basics of human desire, its steady, intense focus on a small-town story which could have come straight from Douglas Sirk, Reitman's fifth feature appears to bear little resemblance the four that went before.
  29. Joe
    Joe also stands as a reminder of what a terrific actor Cage can be when he is able to harness and channel his wilder impulses.
  30. The Invisible Woman
    The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
Page:

Top Trailers

See all »
See all trailers »