The Observer (UK)'s Scores

For 1,640 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Enys Men
Lowest review score: 20 Book Club: The Next Chapter
Score distribution:
1640 movie reviews
  1. The magnetic Scicluna is a Maltese fisherman in real life, and part of a cast predominantly made up of non-professional actors. His performance is impressively complex.
  2. Although it may not bring revelations, there’s an informality and intimacy to this portrait that is unexpectedly pleasing.
  3. Fans will eat it up (with relish and fries); older kids will adore the oddball humour. And even cinemagoers who have never seen an episode of the TV series (me, for example) are likely to find much to amuse them, provided they have a tolerance for extreme silliness.
  4. Top Gun: Maverick offers exactly the kind of air-punching spectacle that reminds people why a trip to the cinema beats staying at home and watching Netflix.
  5. Fans will no doubt find the film fascinating, if a little dispiriting: it may be like eavesdropping on your parents, only to discover that they’re on the brink of divorce.
  6. Behind it all is an endlessly saddening search for that transformative sacrament evoked by the film’s title – alluring yet elusive.
  7. Carey Williams’s smart satire of the daily realities of racial profiling is a switchback ride that lurches between comedy and nerve-shredding tension, but loses focus in an extraneous coda.
  8. The child’s perspective on the story means that the film is unquestioning when it comes to the sources of the psychic powers, neatly sidestepping the need for exposition. In a child’s mind, magic is real, black magic painfully so.
  9. Tension is frequently punctured by clunky dialogue.
  10. There’s a despairing inevitability to the film’s incremental pacing – we feel every aching minute of the nearly two-and-a-half-hour running time. It’s not exactly fun, but it’s a relentlessly powerful piece of film-making.
  11. The film tackles issues of race, sexual violence and the low-level simmering cruelty that is a fact of life for those hardy individuals who make a life in the bush in the late 19th century.
  12. Playing out to the histrionic squalling of a country-infused score, this is film-making that aims to smite its audience into submission.
  13. The result may be a tad overlong and convolutedly overstuffed, but it made me laugh, cry and think – which is more than can be said for many a Marvel flick.
  14. The atmosphere is stripped down and austere, allowing the songs to speak for themselves as they transport us from this world to the next.
  15. Unlike movies such as Black Panther and Shang-Chi, which functioned as self-contained entities, this film requires an encyclopedic knowledge of Marvel minutiae and world-class cross-referencing skills to fully work. And who, outside the diehard fanbase, has the bandwidth for that level of commitment?
  16. The screenplay is so meta that at times it is practically consuming itself, an ouroboros of in-jokes. But there’s an affable appeal to the picture that disarms the more self-satisfied tendencies of the writing, and which stems from the chemistry between Cage and Pascal. Come for the industry satire, stay for the endearingly goofy buddy movie.
  17. Happening is a visceral, confronting experience.
  18. It is piercingly insightful without ever labouring the point.
  19. Along the way, the director, Arthur Harari, takes the exhausted true tale of the lone Japanese soldier and sculpts it into a captivating tragicomedy, a sharp-eyed study of zealotry and self-delusion, ridiculous and heartbreaking in about equal measure.
  20. A quality cast tackle the script’s various twists and turns with aplomb. But the tale itself feels cumbersome and over-furnished, listing under the weight of its bolt-on subplots and endless reams of dialogue.
  21. The respective charms of Sandra Bullock and Channing Tatum receive a rigorous workout during the course of this caffeinated, overeager adventure romp – to the point where significant signs of wear and tear begin to appear.
  22. While the Norns-of-fate narrative may contrive several reversals of fortune and sympathy, there’s little of the genuinely uncanny weirdness that made Eggers’s first two features such a treat. What madness lies herein is not of the north-northwest variety but more in keeping with the bonkers blockbuster spectacle of Darren Aronofsky’s Noah.
  23. It captures the wary, precarious nature of a community that relies financially on the same forces – the rampaging drug cartels – that also terrorise it. Huezo taps into the intense vibration between young female friends who treasure each other above all else.
  24. Beautifully believable performances from Haarla and Borisov add emotional weight, rivalling the nuanced naturalistic charm of Ethan Hawke and Julie Delpy in Richard Linklater’s Before trilogy.
  25. It’s a genuinely exciting piece of storytelling, a propulsive real-life quest for truth driven by ingenious tech-geeks and the disarming force of Navalny’s personality.
  26. In this third outing, there’s a crucial crackle of chemistry between Mikkelsen and Jude Law’s younger Dumbledore.
  27. The atmosphere, of sun and celebration, rings as hollow as the Europop that Ante blasts to drown out arguments; sonar-stabs of cello on the score sound a warning
  28. With its colour palette of mossy greens, terracotta and earth tones, and its matter-of-fact approach to themes of folklore and mysticism, this gorgeous first feature from Italian director Laura Samani is as enchanting as it is unusual.
  29. There is about as much jeopardy as you’d expect from an action thriller about an obscure land dispute; a tense encounter with an angry polar bear and a phantom hot air balloon are highlights during the endless plodding across the frozen wilderness.
  30. Letts gives thoughtful context to the way he was able to straddle the racially delineated worlds of dub reggae and punk rock, drawing parallels between the merging of subcultures in 1970s London, and the intersection of hip-hop and rock’n’roll in 1980s New York.

Top Trailers