The Guardian's Scores

For 1,143 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 12 Years a Slave
Lowest review score: 20 Cirque du Soleil: Worlds Away
Score distribution:
1143 movie reviews
  1. This is highly competent catnip for the watercooler crowd.
  2. It's as if the film-makers felt they couldn't deliver the didactic lesson unless they wrapped this up in pulpy, thriller trappings.
  3. What I like about Among the Believers, a portrait of radical Islam in Pakistan, is how the first two-thirds of the movie strives to remain as balanced as possible.
  4. Kawase's film is sometimes beautiful and moving but I couldn't help occasionally finding it a little contrived and self-conscious.
  5. The mystery and beauty of bees emerge strongly enough. But should we be seriously concerned, or not?
  6. It may be no more than the sum of its parts, and the slightly soap-operatic finale doesn’t entirely distract your attention from untied plot threads, but there is some great fancy footwork in the narrative and fierce satirical strokes that recall Tom Wolfe.
  7. This Faust is part bad dream, part music-less opera: sometimes muted and numb, though with hallucinatory flashes of fear.
  8. Amusingly tacky and offensive though it is, proceedings grow a bit monotonous, because all the tunes have pretty much the same beat and everything is pitched at the same hysterical, OTT level.
  9. There’s more to this movie than sweeping music and celebrating in slow motion. It all stems from Costner’s remarkable, taciturn performance as Coach White.
  10. It runs out of steam in the final 10 minutes, but there's some gruesome drama and Cusack is on decent form.
  11. 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.
  12. Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with.
  13. A fun, disposable watch.
  14. 42
    Boseman hits his key scenes out of the park, making a swell couple with Shame's Nicole Beharie, while Helgeland stages Robinson's signature base-stealing with undeniable aplomb.
  15. I’d be lying if I said this movie didn’t crack me up on more than a few occasions.
  16. Brady Corbet is excellent as thoroughly unlikable Simon.
  17. The director's background in online shorts manifests itself in an occasional, montage-heavy scattiness, and the broadly conventional closing act can't quite maintain the laugh rate, but there's a lot of warm-hearted and commendably daft business along the way.
  18. If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.
  19. It has plenty of energy and drive, and Jeremy Renner is really good, better as a Bourne-y agent than Matt Damon, tougher and more grizzled-looking, more convincing as the professional soldier who has grown careworn and disillusioned in the public service.
  20. Headland has comic smarts enough to venture both filthily revisionist readings of My So-Called Life and riffs on the Potsdam conference, while refusing her audience any comforting safety nets.
  21. The movie is intensely acted, with a sense of interior longing possibly inspired by Terrence Malick, but it is also sometimes contrived and straining self-consciously for dramatic mood and moment.
  22. It is a strange, clenched movie: weirdly compelling, with an undertone of absurdity worthy of Woody Allen’s Love and Death.
    • 59 Metascore
    • 60 Critic Score
    The script unsettles, but never scares, so it doesn't work as a horror film. It's also not a convincing chronicle of deteriorating mental illness.
    • 76 Metascore
    • 60 Critic Score
    The movie practically satirises itself as it goes along, glossing over its own absurdity in the process.
    • 59 Metascore
    • 60 Critic Score
    Fantasy invigorates reality in this fond retrospective of the director who embodied the renegade heart of 70s Hollywood.
  23. It's a professional old-school espionage outing, intricate as clockwork and acted with relish by the ever-watchable Hoffman. But it remains an oddly anonymous enterprise from this talented and distinctive director.
  24. The Sessions can be sugary, but it's likable.
  25. Nothing in the movie matches the fascination of its premise and its opening 10 minutes: the undisturbed status quo is mesmeric. Once the narrative grinds into gear, however, the film's distinctive quality is lost.
  26. It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.
  27. It's nowhere near as good as many of the films it so wants to be positioned next to, but it's nasty enough to leave an impression.

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