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. Grabbers
    It is fantastically silly, often funny, with some unshowy but very serviceable digital effects.
  2. After Earth
    He's done it again. M Night Shyamalan has done it again. Again. Done it. Again. He has given us another film for which the only appropriate expression is stammering, gibbering wonder that anyone can keep making such uncompromisingly terrible movies with such stamina and dedication.
  3. The Last Exorcism Part II
    It's competently made, but pointless.
  4. World War Z
    While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.
  5. You Ain't Seen Nothin' Yet
    Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull.
  6. The Prey
    Director, Eric Valette, is an exuberant market-stall trader, hawking knock-off ingredients.
  7. Everybody Has a Plan
    It certainly doesn't bore.
  8. The Purge
    The film doesn't develop its one good idea so much as stumble around in the dark with it for 85 minutes, crashing noisily into the furniture.
  9. Call Me Kuchu
    The film-makers have turned what could have been a detached news report into a moving human tragedy.
  10. London - The Modern Babylon
    Temple's film is refreshingly free of cliché. A very heady experience.
  11. American Mary
    It's made with gusto, but there's little dramatic interest for non-enthusiasts.
  12. Something in the Air
    This is a great-looking movie with a sure sense of time and place; it is obviously a personal, and in fact, autobiographical work about Assayas's own youth. But for all its flair, I came away dissatisfied at its colossal self-indulgence and creamy complacency, and the way historical perspective and meaning are permitted to dissolve in its sunlit nostalgia.
  13. Epic
    What stands out is the animation. The microcosmic woodland world is luminous and detailed, and there's a nice disconnect of scale whereby humans appear as lumbering, slow-motion giants.
  14. The Hangover Part III
    This is less a caper than a trudge; a linear adventure that proceeds in fits and starts, with few surprises and fewer laughs. There's barely even a hangover.
  15. Blue Is the Warmest Color
    Blue Is the Warmest Colour really is an outstanding film and the performances from Exarchopoulos and Séydoux make other people's acting look very weak.
  16. Venus in Fur
    Venus In Fur is a playful if occasionally heavy-handed jeu d'ésprit on the subject of sexual role-play, the games we all play, illusion and reality, and directing as a sexual act.
  17. The Selfish Giant
    This is a fine film, which cements Barnard's growing reputation as one of Britain's best film-makers.
  18. The Past
    It is an intricate and often brilliant drama, with restrained and intelligent performances; there is an elegantly patterned mosaic of detail, unexpected plot turns, suspenseful twists and revelations.
  19. Only Lovers Left Alive
    If it is an exercise in style … well, what style. With its retro-chic connoisseurship and analogue era rock, this is a brilliant haute-hippy homage.
  20. The Immigrant
    The Immigrant is certainly different: but Gray seems to run out of ideas and the film is shapeless and unsatisfying.
  21. Grigris
    It is a typically calm, lucid drama, presented in the director's unforced, cinematic vernacular and attractively and sympathetically acted.
  22. The Great Beauty
    This movie looks and feels superb, it is pure couture cinema. But there is also a excess of richness and bombast and for all its sleekness I felt that the spark of emotion was being hidden, and there is a kind of frustration in the operatic sadness.
  23. Jimmy P.
    Scenes have a habit of stopping at any second, with or without whopping soundtrack.
  24. A Castle in Italy
    A strained jeu d'ésprit which is smug, precious, carelessly constructed, emotionally negligible, and above all fantastically annoying. It's a terrible waste of real acting talent.
  25. Borgman
    There's the frustrating sense of ideas bubbling too low beneath the surface, of mordant jokes serving as an end rather than a means.
  26. Blood Ties
    This hoary, hackneyed old cop-opera...is served with such relish that the fun proves infectious.
  27. Bastards
    Denis's drama intrigues more than it actually delivers...Sleight of hand is all well and good. But sooner or later a film must pay up.
  28. As I Lay Dying
    Franco's As I Lay Dying is a worthwhile movie, approached in an intelligent and creative spirit. The ensemble work from the actors is generally very strong, with a star turn from Nelson as the prematurely aged patriarch, and the story is presented lucidly and confidently.
  29. All Is Lost
    Redford delivers a tour de force performance: holding the screen effortlessly with no acting support whatsoever.
  30. Nebraska
    Nebraska may not be startlingly new, and sometimes we can see the epiphanies looming up over the distant horizon; the tone is, moreover, lighter and more lenient than in earlier pictures like Sideways. But it is always funny and smart.
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