The Guardian's Scores

For 1,615 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Manuscripts Don't Burn
Lowest review score: 20 The Young and Prodigious T.S. Spivet
Score distribution:
1615 movie reviews
  1. In the end, it’s Lowden’s fresh-faced enthusiasm and Mullan’s gravitas – operating at about a quarter of the level we know he’s capable of – keeping things afloat.
  2. It’s fun, though GOTG2 doesn’t have the same sense of weird urgency and point that the first film had. They’re still guarding, although the galaxy never seems in much danger.
  3. Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
  4. Emma Thompson gives us a scene-stealing performance which is enjoyably macabre.
  5. It’s a serviceable, watchable, determinedly unoriginal film.
  6. A genial, lightweight farce, which largely approximates Hornby's distinctively bittersweet tone.
  7. However smart and sophisticated this film is, it may disappoint those who, in their hearts, would still like to be genuinely scared.
  8. This odd, nasty yet rather funny little film tears apart ideas of sisterhood and female friendship and replaces them with burning hate and gratuitous violence.
  9. The Wright/Stoppard Anna Karenina is not a total success, but it's a bold and creative response to the novel.
  10. [Jay Roach] wants the film to be fun, while the story is serious. It’s a good idea and an admirable intention. But it does suffer the odd wobble.
  11. McKay’s attempt to cover so much ground is admirable; and the outrage that courses throughout is deeply felt. But his busy execution...feels labored.
  12. It’s a very good iteration of the genre, with moody lighting, razor sharp editing and great fight sequences, but be advised that only the strongest of stomachs need apply: it is excessively gory and amoral, even by the standards of such fare.
  13. A slight but engaging two-hander.
  14. Sit in the front – and don't peer too hard – and Chicken With Plums casts an undeniable spell. It is bold, exotic and distinctive, particularly during the animated angel of death sequence.
    • 71 Metascore
    • 60 Critic Score
    Some will be disappointed by the lack of firm conclusions in this film, but if it reveals anything, it’s the intensely personal nature of what people find funny.
  15. Cheadle’s got the cred, and the period evocation is tremendous. It’s just that I’m not sure he has all that much to say
  16. When you have two of today’s best working actors acting on a high-wire to do justice to two of the most recognisable figures of the 20th century, it’s best to keep the focus solely located on them.
  17. The movie is at its lightest, most charming and most persuasive in the 60s; as it approaches the present, something inescapably preposterous weighs it down, though Honoré carries it off with some flair.
  18. Southside With You uses our affection for the Obamas to add urgency in the otherwise simple script.
  19. The Raid 2's faults are not in Evans's technique – he's unusually adept at capturing the art of violence. Instead, the film suffers from too much potential.
  20. A watchable and accessible revival, though not groundbreaking, and not quite matching the story's passionate fear and rapture.
  21. Johnson’s Ana squeezes believability out of one of the more silly romantic entanglements in recent popular culture. It’s all there in her face, which Taylor-Johnson frames in close-up. She’s fully aware this scenario is ridiculous, but can’t seem to turn away from its lunacy.
  22. It’s a bit derivative, with borrowings from a handful of other films, but there are some nasty moments.
  23. Michôd creates a good deal of ambient menace in The Rover; Pearce has a simmering presence. But I felt there was a bit of muddle, and the clean lines of conflict and tension had been blurred: the dystopian future setting doesn't add much and hasn't been very rigorously imagined.
  24. Even if Predestination is distinctive chiefly for Snook’s excellent performance, it’s still a tricksy story well-handled by its directors. It doesn’t offer any new twists on the genre, but it is clever enough to leave you satisfied that you don’t want the time back.
  25. It’s somewhat heavy material for a film aimed at children, but perhaps very necessary in an age where a beer-stained uncle might have ruined Thanksgiving wearing a Make America Great Again baseball cap.
    • 74 Metascore
    • 60 Critic Score
    Non-devotees might well give up, but director Bryan Singer always has a neat special effect, a well-timed gag or an action set piece around the corner, whipping up the action towards a symphonic climax.
  26. ABCD2 is the latest film to recognise that – however you gender your gaze – there is an abiding pleasure in watching bodies in motion, and choreographer-turned-director Remo d’Souza keeps nudging more of them on.
  27. It's fun to watch Whedon pitch his heroes against each other. Child's play, maybe, but entertaining all the same.
    • 77 Metascore
    • 60 Critic Score
    Grandma is fun and brisk, though sometimes the encounters seem a little pat, and Elle’s grief about the death of her partner a year earlier is way overdone.

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