The Guardian's Scores

For 1,881 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Doctor Zhivago
Lowest review score: 20 To the Bone
Score distribution:
1881 movie reviews
  1. Even Cranston looks to be on auto-pilot here: he comes stomping through the action with a perma-scowl that suggests that his break from playing Walter White is little more than a busman's holiday.
  2. The dialogue is at times embarrassingly bad.... On the other hand, the period details are impressive and must have cost a pretty kopiyka or two, and the film benefits visually from being shot on location.
  3. The Immigrant is certainly different: but Gray seems to run out of ideas and the film is shapeless and unsatisfying.
  4. While we open with dazed individuals in a crashed limousine as it begins to take on water, Submerged’s frequent flashbacks eventually reveal a tiresome crime plot rife with soporific acting and unremarkable dialogue.
  5. It's atmospheric but derivative, and I didn't find the denouement's Christian imagery convincing.
  6. The Good Dinosaur looks great, of course, but it’s not in the league we’ve come to expect.
  7. Everest is a frustrating movie in many ways – despite some lurches and shocks, it doesn’t quite deliver the edge-of-your-seat thrills that many were hoping for, and all those moderately engaging characters mean that there is no centrally powerful character.
  8. Some of the acting isn't bad, but the story is messy and unsatisfying with a plot-hole you could drive a dozen combine harvesters through, the ending is an outrageous fudge and the lead performance from Dennis Quaid is strange to say the least.
  9. It’s written to a machine-tooled formula, with two more episodes naturally planned to gouge cash out of the fanbase, and whatever interest this film has dies about five minutes before the closing credits.
  10. There’s little in the way of dramatic conflict or base wit to keep us hanging around to see what happens within each.
  11. The script is sensitively handled and it’s unarguable that showcasing stories such as this is an important way of educating the masses about a difficult process. But while it’s hard to hate, it’s even harder to like.
    • 52 Metascore
    • 40 Critic Score
    Like Snakes on a Plane, this is a film that seems content to sit back and let the title do all the work – the flat direction does little to imbue the proceedings with any feeling of tension or surprise.
  12. The exuberant comic talents of Will Ferrell and Amy Poehler are largely wasted in this uninspired addition to the frat movie canon, which resembles reheated leftovers of the Hangover, albeit with a curious detour into some heavy bloodletting.
  13. Director, Eric Valette, is an exuberant market-stall trader, hawking knock-off ingredients.
  14. Refn delivers some shocks - but not the shock of the new.
  15. Chiwetel Ejiofor, one of our top-tier film actors right now, is on good form throughout, and the others act their hearts out, too. But they are somewhat left out to dry in a production that feels more like syndicated television than a feature film.
  16. There’s not much that glitters in Gold, a lackluster caper that proves that even the priciest ore can bore.
  17. It’s an anticlimactic oddity of a film, and a slightly wasted opportunity – but with curiosity value.
  18. Sorkin is spellbound by his subject, fascinated by the many details of her admittedly impressive life, but the magic he clearly feels fails to translate on screen.
  19. The Unknown Woman is an odd, dramatically stilted and passionless quasi-procedural concerning a mysterious death; it depends on a series of unconvincing, and in fact borderline-preposterous, encounters and features a bafflingly inert performance from Adèle Haenel, whose usual spark appears to have been doused by self-consciousness.
  20. Her two exceptional stars do their best to convey their animosity via simmering glances. But in the end, Curran’s muted approach does them no favors. Instead of being boldly subtle, Five Nights in Maine just comes off as evasive.
  21. It's bracing, but it does feel closer to panto than melodrama, more exhausting than illuminating.
  22. Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull.
    • 51 Metascore
    • 40 Critic Score
    If the film wasn’t so cheekily self-aware it might be literally unbearable, but every so often it references its own grotesquerie.
  23. The result is tangled and overblown.
  24. The Perks of Being a Wallflower is a perfect fit for its target audience – the Harry Potter kids who are following Emma Watson through her baby steps towards the stronger stuff.
    • 62 Metascore
    • 40 Critic Score
    For a long time Crocodile Dundee isn't so much a collection of jokes as a stiff-jointed opposites-attract romantic drama goofed up with stereotypes.
  25. Full credit to Hardy and Knight for making a film such as Locke. Low-budget film-makers could learn a lot from their method. And yet – having stripped away all but the bare necessities, having reduced the components to a car and a man – they make a classic error of overcompensation.
    • 73 Metascore
    • 40 Critic Score
    The best reason to see this misconceived film is its location.
  26. Wheatley has made High Rise his story, instead of Ballard’s. That’s fine – but, unfortunately, it’s a less interesting take.

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