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. Arthur Newman
    The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
  2. Olympus Has Fallen
    Part of the weirdness of this film lies in the fact that the tense North Korean situation in the real world gives it no realism or satirical edge, or prophetic authority of any kind.
  3. Love Is All You Need
    It looks weirdly like a romcom pastiche, not cynical, but not properly inhabited; it doesn't taste of romance or comedy any more than Andy Warhol's Campbell Soup cans taste of soup.
  4. Evil Dead
    It is nowhere near as creepy as the recent indie horror "V/H/S," but it is a full-bloodedly grisly and macabre film that zaps over a few scares.
  5. Laurence Anyways
    It goes on for ever without getting properly started: an epic of depthless self-indulgence.
  6. Simon Killer
    Brady Corbet is excellent as thoroughly unlikable Simon.
  7. The Hunt
    It is forthright, powerful, composed and directed with clarity and overwhelming force, yet capable of great subtlety and nuance.
  8. In the House
    A black-comic psychological drama with poise and self-possession. Featuring Fabrice Luchini and Kristin Scott Thomas, how could it have anything else?
    • 73 Metascore
    • 40 Critic Score
    Prince Avalanche
    The best reason to see this misconceived film is its location.
  10. Post Tenebras Lux
    An irritating, baffling, fascinating film.
  11. Shadow Dancer
    Marsh's movie is calm, level, downbeat. The tension is subtle – perhaps subtler than it really should be.
    • 66 Metascore
    • 60 Critic Score
    Don Jon
    A fun, occasionally flabby romp that should find its audience.
  13. Oblivion
    Oblivion goes on for a long time, moving slowly and self-consciously, and it looks like a very expensive movie project that has been written and rewritten many times over. It is a shame: Cruise, Riseborough and Kurylenko as the last love triangle left on Planet Earth should have been quite interesting.
    • 67 Metascore
    • 60 Critic Score
    Crystal Fairy & The Magical Cactus
    Crystal Fairy is an acid trip where the frequent bonhomie is doused by sobering introspection.
  15. Austenland
    It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.
  16. Sightseers
    Sightseers is funny and well made, but Wheatley could be suffering from difficult third album syndrome: this is not as mysterious and interesting as Kill List.
  17. Into the White
    It's all a bit tame, predictable and muted; the inevitable revelation of German decency seems contrived and there's an outrageous plot cop-out towards the end. It's a reminder of how David Lean exploited this kind of drama with more potency in "The Bridge on the River Kwai."
  18. Erased
    This semi-efficient, Belgian-set timewaster fuses Taken with Unknown, and almost works.
  19. Antiviral
    Brandon Cronenberg's movie is made with some technical skill and focus, but it is agonisingly self-regarding and tiresome.
  20. Midnight's Children
    The movie's pace flags a good deal once Bangladesh has been born in 1971, and the adult characters are much less interesting than their child counterparts, but there's enough here to entertain – and to send audiences back to the book.
  21. 6 Souls
    Is it a psychological thriller or a giddy horror of the evil-in-them-there-hills persuasion? This split-personality number can't quite decide.
  22. Dog Pound
    Perhaps this tells us nothing new about life on the inside in the US (there are rapes, riots and suicides), but it at least handles its brief with pace and precision.
  23. Mental
    It's always a pleasure to see Collette, a performer who always cranks up the energy, and yet here, as so often, she gives the impression of a ferocious screen intelligence somehow not being used to the full.
  24. The Croods
    It's amiable enough, but it makes "The Flintstones" look like it was scripted by Karl Popper.
  25. Trance
    Trance is a disappointment: a strident, chaotic, frantically overcooked film with an almost deafeningly intrusive ambient soundtrack. There is some embarrassing, eyeball-swivelling acting from the male leads, and the elegance of the film's premise is quite obliterated by its crude and misjudged violence.
    • 76 Metascore
    • 60 Critic Score
    We Steal Secrets: The Story of WikiLeaks
    The latest documentary to roll out of the Alex Gibney factory looks at the life and times of the crusading website and explores related themes such as freedom of information and the moral responsibility of activism, but is far less illuminating about its silver-haired standard-bearer.
    • 44 Metascore
    • 40 Critic Score
    Jobs
    This is far from the bomb some would have envisaged, but neither is it the character illumination one would wish for. Jobs appears so consumed by his work here that little else mattered in his life. That may be true, but we're left none the wiser as to what made the man tick, beyond what we already know.
  28. White Elephant
    For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  29. My Brother the Devil
    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  30. The Act of Killing
    It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
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