The Guardian's Scores

For 6,556 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:
6556 movie reviews
  1. The cranked-up pitchside action is hilarious, like a live feed from inside Cristiano Ronaldo’s head as he replays his own goals reel. . . Translating football into the battle royale format only goes so far, though.
  2. The fussy visual style that keeps drawing attention to itself does its best to prevent us from becoming absorbed in this tempestuous romance.
  3. It isn’t a masterpiece, and no one needs Despicable Me 5, but being unassumingly enjoyable isn’t easy.
  4. In choosing to delve into the liminal space between history and recreation, El Moudir’s film radically prioritises friction over easy reconciliation, making space for secrets and lies in pursuit of the truth.
  5. The film might occasionally feel a bit self-conscious, but in a way this is a by-product of the film’s experimental nature; trans people are engaging with this fictional literary text in which trans identity has a poetic reality, a visionary reality, precisely that reality which is here found to be empowering.
  6. [A] richly enjoyable documentary.
  7. It’s all a lot, as they say, but those with a taste for maximalism will swoon over the goods on offer here.
  8. The initial setup is great, the Ephronesque excitable phone conversation montage is tolerable, but the cliched breakup and makeup plot transition clanks.
  9. It is well made and well acted, with a fervent lead performance from Lupita Nyong’o.
  10. Gladstone’s performance is looser, more open, less reserved. Simply put: she does more acting, and gives strength and substance to a dense, knotty family drama which though maybe anticlimactic in the final act – and too reliant on a handgun plot-point – is fluent and heartfelt.
  11. West mulches up a thick impasto of pulp, gore, filth and fear and gets away with some colossally self-aware scenes.
  12. Knepp is a heartwarming speck of biodiversity good news among the depressing headlines.
  13. Àma Gloria is a small-scale film, barely over 80 minutes, but it leaves an almighty impression.
  14. Brie and Cena look lifeless and blank-faced; they’ve got no chemistry, and the objectionable dynamics of him manfully rescuing her shrieking from the clutches of the bad guys on repeat feel like a satire of the genre – which this isn’t.
  15. Alba hasn’t always made the strongest impression as an actor but this mode works well for her, convincing both in her many hand-to-hand combat scenes (her weapon of choice is a knife rather than a gun) and as an old-fashioned movie star, light on emotional depth but heavy on charisma.
  16. [Miller] is a far better director than he is a writer though, and the film is crisply, thoughtfully made, at the least looking like it belongs on the big screen.
  17. Audiences hoping for lashings of graphic violence may be disappointed that not all of these problems involve gallons of blood – this is a relatively gore-free thriller – instead, it’s all aboard and anchors aweigh for some larky tension between likable characters who find themselves plunged into a nightmare scenario.
  18. It’s an amusing, affectionate tribute.
  19. Tamahori builds a largely credible aura, supported by uniformly strong performances and Gin Loane’s classy cinematography. But The Convert is one of those films with occasional moments that make you go “huh?”
  20. [A] remarkably unguarded documentary.
  21. These guys know how to hammer out a riff, with traditional chord progressions underpinning melodies that are easy to listen to but equally easy to forget afterwards.
  22. This is certainly not a crime thriller in the dourly realistic “cold case” vein; it is outrageously over-the-top at all times, with crazy and almost dreamlike convolutions of plot, and yet its silliness is enjoyably dramatised.
  23. Throughout the film, the band remain affable company.
  24. I would have liked to hear more about Gena’s late mother and the family history generally, but this is an arresting portrait.
  25. It’s an effective little thriller that knows the conventions and doesn’t stray too far from them.
  26. Not a terribly profound movie, perhaps, but robustly performed and an interesting reminder of the dusty old debates on the point of being swept away by the great horror of the second world war.
  27. It drags a little in places, despite the appealing animation style, which really comes into its own during the action sequences.
  28. Inside Out 2’s view of growing up has nothing in it as powerful or real as the When She Loved Me song from Toy Story 2 – but there are a lot of entertaining moments, including a great demonstration of what sulky teen sarcasm does to the tectonic plates of your emotional geology.
  29. Something has perhaps been lost in the edit. This never quite comes together.
  30. The tears of Roger Federer, along with the tears of Rafael Nadal and even the tears of Novak Djokovic, are what finally give some point to what is otherwise a pretty bland, officially sanctioned corporate promo for the Federer brand.

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