The Guardian's Scores

For 1,487 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% 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: 61
Highest review score: 100 The Hateful Eight
Lowest review score: 20 Mother's Day
Score distribution:
1487 movie reviews
    • 59 Metascore
    • 60 Critic Score
    Fantasy invigorates reality in this fond retrospective of the director who embodied the renegade heart of 70s Hollywood.
  1. 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.
  2. The Sessions can be sugary, but it's likable.
  3. 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.
  4. 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.
  5. 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.
  6. Joy
    David O Russell’s Joy is an intriguing but weirdly subdued and stylised film.
    • 52 Metascore
    • 60 Critic Score
    What stands out is the animation. The microcosmic woodland world is luminous and detailed, and there's a nice disconnect of scale whereby humans appear as lumbering, slow-motion giants.
  7. It's a bit sucrose, especially at the beginning, but this traditional, sweet-natured family film will tug on the heartstrings.
  8. Some of the movie doesn't exactly convince, and some of the scenes have an actors-improv feel to them, but there's always plenty of humour and energy.
  9. Even as All I See Is You descends into soapy nonsense, it remains visually engaging.
  10. A wide-eyed tribute to human ingenuity that packs enough snark to pull itself out of the black hole of earnestness, even if its fuel runs out partway through.
  11. Hang on for the outtake bloopers over the credits and you'll see Aniston momentarily unsure how to take a joke at her expense.
    • 48 Metascore
    • 60 Critic Score
    There's plenty that's good here: a serious tone, steady ­pacing, muddy and bloody scenery and a convincing turn by Purefoy in his own west country accent. But Kane is an ill fit into the ­origins tale template; it's a story with few ­surprises.
  12. The script could have done without the odd bout of heavy-handed chess symbolism (“a king for a king”) but it’s a solidly entertaining drama with an intriguingly unconventional lead.
  13. For all the guns and gore, it's as breezy and uncritical as a tale from the True Detective magazine that the cops can't help reading.
  14. It's all watchable and pretty funny, and the big setpiece is the three wildly queeny stewards Joserra, Fajas (Carlos Areces) and Ulloa (Arévalo) going into a drug-fuelled song-and-dance routine: a rendering of the Pointer Sisters' I'm So Excited.
  15. With a sly dreaminess, Vikander steals the movie from the two males.
  16. For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  17. The spectacle of highly competent professionals going about their work is always absorbing, and Simons is an interesting man: reticent, calm, shy, intensely focused but apparently never losing control until the end.
  18. With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.
  19. The Lure’s premise alone will turn heads but once the novelty wears off the question will remain: where’s the story?
  20. The opening section, mixing shots of the Earth from outer space with recollections from astronauts about what it felt like to see it for real, is deeply moving and beautifully edited. However, once the film settles into a groove of guilt-tripping the viewer and trots out talking head after talking head...the experience grows numbingly monotonous and painfully sanctimonious.
  21. There’s something rather dusty about The Promise as George pushes his characters through a string of soapy machinations that feel incredibly familiar.
  22. She's entertaining enough, and like most fashion documentaries, it's a mine of pop-cultural history, but the unswervingly generous assessment of her achievements and permanently arch vocal style become a little wearying.
  23. It’s a film which drifts onward in search for an epiphany which doesn’t quite materialise. It is indulgent, and features a scenery-chewing, furniture-smashing performance from Shia LaBoeuf. Yet there is much that is valuable in the film: a sense of mood and space, interesting ideas and a tense triangular dynamic between its chief characters.
  24. No one in the film is particularly likeable, and while the global implications about epistemology are interesting, the specifics of this particular case, at least rendered here, are quite dull.
  25. Director Susanna White favours a generic spy-movie look: those chilly blue filters surely need resting now. Yet she works smartly with her actors: while Skarsgård wolfs down great handfuls of scenery, McGregor effectuates a thoughtful transformation from ineffectual tourist to man in the field.
    • 75 Metascore
    • 60 Critic Score
    Ultimately, it’s a sweet movie with some good laughs and a phenomenal rap soundtrack, but it fails to rise above the pack.
  26. It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.

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