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. All the Boys Love Mandy Lane
    Mandy Lane feels bogus and compromised: an unreconstructed horror romp in the guise of a nerdish intellectual.
    • 52 Metascore
    • 40 Critic Score
    Cockneys vs Zombies
    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.
  3. Lovelace
    Though Rob Epstein and Jeffrey Friedman's handsomely mounted period piece evokes the era with impressive detail, Lovelace's journey remains difficult to tell.
  4. Paradise: Love
    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.
  5. Iron Man 3
    Iron Man 3 is smart, funny and spectacular.
  6. Computer Chess
    Bujalski really has pulled off something extraordinary here.
  7. Arthur Newman
    The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
  8. 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.
  9. 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.
  10. 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.
  11. Laurence Anyways
    It goes on for ever without getting properly started: an epic of depthless self-indulgence.
  12. Simon Killer
    Brady Corbet is excellent as thoroughly unlikable Simon.
  13. The Hunt
    It is forthright, powerful, composed and directed with clarity and overwhelming force, yet capable of great subtlety and nuance.
  14. 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.
  16. Post Tenebras Lux
    An irritating, baffling, fascinating film.
  17. 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.
  19. 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.
  21. 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.
  22. 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.
  23. 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."
  24. Erased
    This semi-efficient, Belgian-set timewaster fuses Taken with Unknown, and almost works.
  25. Antiviral
    Brandon Cronenberg's movie is made with some technical skill and focus, but it is agonisingly self-regarding and tiresome.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. The Croods
    It's amiable enough, but it makes "The Flintstones" look like it was scripted by Karl Popper.
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