The Guardian's Scores

For 856 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Amy
Lowest review score: 20 Safe Haven
Score distribution:
  1. Negative: 54 out of 856
856 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. It reduces a complex and extraordinary case to soap. It makes you care less, for all its heavy-breathing and cheapo coaxing.
  3. Remove the subtitles, and it's one of Cameron Crowe's head-in-the-clouds dramas, as scripted by M Night Shyamalan: an insultingly arbitrary reveal, preceded by vast, wailing washes of Pink Floyd and Sigur Rós. A very vanilla sky, this.
  4. Someday, all US cinema may come to look like this: indifferently shot random events happening to semi-recognisable TV faces.
    • 53 Metascore
    • 20 Critic Score
    Shelton's migration towards more clear-cut drama is hampered by uneven tone and, most damning of all, dullness.
  5. You’ve seen this movie before with peppier actors, and not tethered to a visually uninteresting set that looks like a remainder from a 10-year-old episode of CSI.
  6. This film is one long biopsy of pure horror: the tumours of sentimentality and bad acting metastasise everywhere, and Bernal, in particular, is horrendously bad.
  7. As a straight procedural, this might have worked if Egoyan did not try the audience's patience and insult their intelligence with how utterly implausible his drama is. But line by line, scene by scene, it is offensively preposterous and crass.
  8. Crispian Mills's London-based horror-comedy is so spectacularly bungled that it leaves the viewer in a state of advanced petrification.
  9. Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.
  10. Young kids will find the second, more action-heavy half of the film entertaining, but everyone else will want to crawl into their shell.
  11. It's leaden, boorish and dull.
  12. In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.
  13. Embarrassing for everyone involved not because of any squeamish subject matter – quite the contrary, seeing retirement-age characters are refreshing – but because the story structure is so fake and so plodding.
  14. An ingenious idea for a suspense thriller – or maybe even an old-fashioned, "Wait Until Dark"-style stage play – turns out instead to be the pretext for a crass, over-long and tiresome splatter nightmare.
  15. Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
  16. The corn in The Identical is as tall as an elephant’s eye – but there’s nothing that says the story of a man torn between his religious upbringing and his desire to be a musician can’t make for a good movie. In fact, considering a little movie called "The Jazz Singer," there’s ample proof that it can be groundbreaking.
  17. It proves very much un film de Sandler: so lazy you feel unconscionably guilty for snorting at the three jokes in its two hours that merit any response.
  18. Romcom fans deserve something with more heart.
  19. This is the film’s grossest crime. It’s dumb, it’s long, it’s dull, but it isn’t quite bad enough to be camp.
  20. Ban this sick filth.
  21. The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  22. There is a creepy, undead feel to this lumbering comedy set in the offices of Google, and Owen Wilson and Vince Vaughn have a distinct Baron Samedi look in their eyes.

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