The Guardian's Scores

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:
6554 movie reviews
  1. It is put together with technical competence, but is entirely cliched and preposterous, and it implodes into its own fundamental narrative implausibility.
  2. This is a sweet-natured, but essentially undemanding film from Kore-eda.
  3. The film functions as clammy thriller as well as poetic agitprop.
  4. The Congress contains tricks aplenty and ideas in abundance. The problem comes in herding these scattered, floating elements towards a satisfying whole.
  5. Only God Forgives will, understandably, have people running for the exits, and running for the hills. It is very violent, but Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.
  6. Director Hugh Hartford does not patronise his stars, although perhaps there is something too gently celebratory and obviously feelgood about the film. These dynamic table-tennis stars put the rest of us to shame.
  7. In the Fog is an intense, slow-burning and haunting drama.
  8. Brilliantly written, terrifically acted, superbly designed and shot; it's a sweet, sad, funny picture about the lost world of folk music which effortlessly immerses us in the period.
  9. It's a film which fatally fails to hold your focus: events seem both predictable and mumbled; the monochrome looks grubby, the splashes of colour and blood joke shop cheap.
  10. There are some nice images of the teeming penguin population, and great fun to be had witnessing the love life, and indeed sex life, of penguins. It does have to be said, though, there is a fair bit of Disneyfication going on.
  11. The final notes of irony and repudiation may be laboured and obvious, but this is an intriguingly intuitive and atmospheric movie.
  12. Danish director Tobias Lindholm spins an exacting drama out of a crisis on this deft, verite-style account of Somali piracy in the Indian ocean. Full credit to A Hijacking for resisting the siren-call of Hollywood histrionics in favour of the nuts-and-bolts.
  13. The result is funny and plausible, with a fair bit of newly modish Bridesmaidsy bad taste, though I kept getting the sense that the romcom template meant Mazer couldn't really let rip with pure comedy pessimism and cynicism in the way he might have liked.
  14. Utterly distinctive and all but unclassifiable, a musique concrète nightmare, a psycho-metaphysical implosion of anxiety, with strange-tasting traces of black comedy and movie-buff riffs. It is seriously weird and seriously good.
  15. It's all a bit absurd, but Legrand handles the absurdity with some style, and there is something clever in making an apparently minor character responsible for a major narrative flourish. An enjoyable spectacle.
  16. It's all watchable and pretty funny, and the big setpiece is the three wildly queeny stewards Joserra, Fajas (Carlos Areces) and Ulloa (Arévalo) going into a drug-fuelled song-and-dance routine: a rendering of the Pointer Sisters' I'm So Excited.
  17. Some of the movie doesn't exactly convince, and some of the scenes have an actors-improv feel to them, but there's always plenty of humour and energy.
  18. Director Niels Arden Orpev was in charge of the original "Girl with the Dragon Tattoo," starring Rapace, but fails to create a revenge thriller with anything like the same focus.
  19. People are unlikely to charge out of the cinema with quite the same level of glee as they did in 2009; but this is certainly an astute, exhilarating concoction.
  20. Grant plays it with manic glee and full-throated gusto.
  21. As a demonstration of the banality of evil, The Iceman is certainly effective and Shannon's performance gives the film its power.
  22. Black's performance is a revelation: foregoing his usual repertoire of jiggling, tics and head-waggling craziness, Black ensures Tiede is a satirical creation of considerable substance. Really impressive.
  23. The most intentional fun comes courtesy of N (for Nuptials).
  24. What Richard Did is an engrossing and intelligent drama that throbs in the mind for hours after the final credits.
  25. Mandy Lane feels bogus and compromised: an unreconstructed horror romp in the guise of a nerdish intellectual.
    • 52 Metascore
    • 40 Critic Score
    Like Snakes on a Plane, this is a film that seems content to sit back and let the title do all the work – the flat direction does little to imbue the proceedings with any feeling of tension or surprise.
  26. Though Rob Epstein and Jeffrey Friedman's handsomely mounted period piece evokes the era with impressive detail, Lovelace's journey remains difficult to tell.
  27. Does the film tell us anything we didn't know already? And could anyone expect anything but the most straightforward irony in the title? The answer to both questions is no – but there is undoubted technique, and an authorial address to the audience.
  28. Iron Man 3 is smart, funny and spectacular.
  29. Bujalski really has pulled off something extraordinary here.

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