The Guardian's Scores

For 871 reviews, this publication has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Son of Saul
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 57 out of 871
871 movie reviews
    • 42 Metascore
    • 30 Critic Score
    This is not a very good effort, seeming tired without being emotional. It looks like the end of the line...Superman III never flies as it should, or only does momentarily. [31 July 1983, p.21]
    • The Guardian
  1. Poor Princess Diana. I hesitate to use the term "car crash cinema". But the awful truth is that, 16 years after that terrible day in 1997, she has died another awful death.
  2. This has to be the year's most pointless remake: a boring and badly acted reboot of John Milius's gung-ho red-scare actioner from 1984.
  3. If there was just one extended sequence that crackled with originality you could at least say it has its moments, but, truly, there’s nothing besides repeated use of swear words in lieu of wit.
    • 30 Metascore
    • 20 Critic Score
    This is less a caper than a trudge; a linear adventure that proceeds in fits and starts, with few surprises and fewer laughs. There's barely even a hangover.
  4. Director Niels Arden Orpev was in charge of the original "Girl with the Dragon Tattoo," starring Rapace, but fails to create a revenge thriller with anything like the same focus.
  5. There can hardly be a bigger waste of time than this piece of twee nonsense.
    • 33 Metascore
    • 20 Critic Score
    This is film-making at its most cynical. But none of it actually makes much sense.
  6. Sadly, Savages plays up to Stone's worst tendencies: machismo, bombast and self-indulgence, and the factor that could conceivably have made this movie tolerable – humour – is off the menu.
  7. For all its apparent sombreness and thoughtfulness, The Sea Of Trees is an exasperatingly shallow film on an important and agonisingly painful subject - depression and suicide. This it slathers in palliative sentimentality.
  8. It is a film so awe-inspiringly wooden that it is basically a fire-risk. The cringe-factor is ionospherically high.
  9. A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.
  10. It’s difficult to know what subtitle to give this. Taken 3: Not Again, or Taken 3: Seriously? or Taken 3: This Is Getting a Bit Much Frankly.
    • 51 Metascore
    • 20 Critic Score
    A tedious, misjudged marriage of Olympic opening ceremony, Eurovision half-time show and most recorded nightmares, Worlds Away is set in a mysterious land of make-believe.
  11. This is television-level moviemaking top to bottom, from its preposterous premise, scenery-chomping performances, idiotic sound cues and force-fed jump-scares. Deliver Us From Evil delivers formula, and in a formulaic fashion.
  12. It goes on for ever without getting properly started: an epic of depthless self-indulgence.
  13. Mon Roi, directed and co-written by Maïwenn (that is, film-maker and actor Maïwenn Le Besco) is an unendurable confection of complacent and self-admiring nonsense: shallow, narcissistic, histrionic and fake.
    • 47 Metascore
    • 20 Critic Score
    Interior. Leather Bar ultimately rings hollow in its diatribe and agenda because its chief instigator refuses to open up.
  14. The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.
  15. This buttock-clenchingly embarrassing movie from director Valérie Donzelli is a pre-Revolutionary period drama from the quality end of the sugary French market – theatrically tricked out with one or two annoying and clumsy Brechtian touches of stylised self-aware modernity.
  16. As ever with a Sparks story, the action takes place in a sugary vision of small-town America that does not correspond with the real world at any point.
  17. The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
  18. This movie is a case in point. It's a film which is so demeaningly bad, so utterly without merit, that there is a kind of purity in its awfulness. There is a Zen mastery in producing a film which nullifies the concept of pleasure.
  19. The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
  20. A real Christmas miracle would cause every copy of this film to spontaneously burst into flames.
  21. Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.
  22. Robert De Niro does further damage to a reputation much battered by "The Big Wedding."
  23. A deafening, boring action pile-up that is more Call of Duty than Robocop.
    • 24 Metascore
    • 20 Critic Score
    Levasseur understands the claustrophobia of being locked inside a stuffy pyramid with collapsing floors and sand traps. Unfortunately for him, Indiana Jones turns out to be incompatible with Alien, and the bad acting and atrocious script don’t help.
  24. A strained jeu d'ésprit which is smug, precious, carelessly constructed, emotionally negligible, and above all fantastically annoying. It's a terrible waste of real acting talent.
  25. Scenes have a habit of stopping at any second, with or without whopping soundtrack.
  26. All the material about social media looks forced and behind the curve, and nothing about the movie is really convincing or entertaining on any level, making it valueless as drama or satire.
  27. He's done it again. M Night Shyamalan has done it again. Again. Done it. Again. He has given us another film for which the only appropriate expression is stammering, gibbering wonder that anyone can keep making such uncompromisingly terrible movies with such stamina and dedication.
  28. It is put together with technical competence, but is entirely cliched and preposterous, and it implodes into its own fundamental narrative implausibility.
  29. It reduces a complex and extraordinary case to soap. It makes you care less, for all its heavy-breathing and cheapo coaxing.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. Crispian Mills's London-based horror-comedy is so spectacularly bungled that it leaves the viewer in a state of advanced petrification.
  36. 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.
  37. Young kids will find the second, more action-heavy half of the film entertaining, but everyone else will want to crawl into their shell.
  38. It's leaden, boorish and dull.
  39. 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.
  40. 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.
  41. 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.
  42. Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
  43. 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.
  44. 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.
  45. Romcom fans deserve something with more heart.
  46. 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.
  47. Ban this sick filth.
  48. The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  49. 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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