The Guardian's Scores

For 834 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Exhibition
Lowest review score: 20 God's Not Dead
Score distribution:
  1. Negative: 54 out of 834
834 movie reviews
  1. What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
  2. There is something exacting and audacious in it, something superbly controlled in its composition and technique. The clarity of her film-making diction is a marvel – even, or perhaps especially, when the nature of the story itself remains murkily unrevealed.
  3. Django Unchained also has the pure, almost meaningless excitement which I found sorely lacking in Tarantino's previous film, Inglourious Basterds, with its misfiring spaghetti-Nazi trope and boring plot. I can only say Django delivers, wholesale, that particular narcotic and delirious pleasure that Tarantino still knows how to confect in the cinema, something to do with the manipulation of surfaces. It's as unwholesome, deplorable and delicious as a forbidden cigarette.
  4. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  5. The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.
  6. This is an unrepentantly cynical take on the hope-and-change promised to the US in 2008; this year's election race makes it look even bleaker, an icily confident black comedy of continued disillusion.
  7. The Double isn't an original idea. It wasn't even in Dostoyevsky's time. But it's a great story. And Ayoade has produced a brilliant copy.
  8. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  9. What a bold, beguiling and utterly unclassifiable director Andersson is. He thinks life is a comedy and feels it’s a tragedy, and is able to wrestle these conflicting impulses into a gorgeous, deadpan deadlock.
  10. It is a gripping film: horrible, scary and desperately sad.
  11. Not since Grey Gardens has a film invited us into such a strange, barely-functioning home and allowed us to gawk without reservation. This is a nosy movie, but it is altogether fascinating.
  12. Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.
  13. Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
  14. This documentary by Mike Lerner and Maxim Pozdorovkin argues that Pussy Riot suffered an old-fashioned Soviet show trial, and what emerges is the effrontery and hypocrisy of Putin's attempt to associate these three young women with the Bolsheviks' suppression of religion.
  15. What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.
  16. Julian Roman Pölsler's bewitching debut manages to be at once a creepy sci-fi parable, a feminist Robinson Crusoe and a clear-eyed ode to the wonders of nature experienced in solitude. Walden pond with added wall.
  17. Danish director Tobias Lindholm spins an exacting drama out of a crisis on this deft, verite-style account of Somali piracy in the Indian ocean. Full credit to A Hijacking for resisting the siren-call of Hollywood histrionics in favour of the nuts-and-bolts.
  18. Devotees of Dumont's earlier films – particularly his 1999 film "Humanity" – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
  19. But Whedon's key coup is in simply directing a very good version of the play. He's got a keen ear for comedy, a no-nonsense approach to ditching the gags that don't work, a deft hand for slapstick and an eagerness to use it.
    • 79 Metascore
    • 80 Critic Score
    Just as 2011's Rise of the Planet of the Apes surpassed expectations, so this sequel delivers on its promise and leaves us wanting more – which we'll almost certainly get.
  20. The genius of Alpha Papa, then, is in remaining faithful to Partridge's small-screen soul while also managing the demands of a big-screen Alan.
  21. It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  22. Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
  23. Like José Luis Guerín's brilliant 2007 curio "In the City of Sylvia," this is one of those rare films that may change the way you view the world.
  24. Writer-director team Anna Boden and Ryan Fleck (It’s Kind of A Funny Story, Half Nelson) must be applauded for refusing to let their shaggy dog tale line up with any predictable storyline.
  25. The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
  26. He lived until recently in bohemian chaos in one of the "artist apartments" in Carnegie Hall, and cares nothing for money or vanity. That's real class.
  27. Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.
  28. The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.
  29. For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.

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