The Guardian's Scores

For 831 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Blancanieves
Lowest review score: 20 After Earth
Score distribution:
  1. Negative: 54 out of 831
831 movie reviews
  1. With his two early features, "Distant" (2002) and "Climates" (2006), Ceylan has showed himself a superb film-maker. This is his greatest so far.
  2. This is a jewel of American cinema.
  3. It's not exactly a documentary, more a lovingly-filmed homage, but some candid interview material allows scraps of Baker's story to emerge.
  4. An almost perfect 90-minute hit of confident and inspired comedic commentary.
  5. After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
  6. An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
  7. What an astonishing achievement; what a beautiful movie.
  8. This is an extraordinary record. But be warned. Once seen, these images cannot be unseen.
  9. Only God Forgives will, understandably, have people running for the exits, and running for the hills. It is very violent, but Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.
  10. It is a brilliant, subversive account of class relations and the changing times.
  11. It is extremely pleasurable to watch, and shows every sign of having been extremely pleasurable to make.
  12. Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
  13. The themes may be contentious, but the handling is perfect. If there were ever a movie to cause the lame to walk and the blind to see, The Master may just be it.
    • 74 Metascore
    • 100 Critic Score
    The film is so singular, it's hard to place. At times, its elegiac visual quality evokes Terrence Malick, but Lowery's scripting is tighter and more accessible. His is truly a fresh voice, exhilarating to hear.
  14. Mitchell brings off some sensational setpieces of fear and suspense. I can’t remember when I was last so royally freaked out in the cinema.
    • 95 Metascore
    • 100 Critic Score
    Telling a nearly three-hour story with an ending everyone knows, Bigelow and Boal have managed to craft one of the most intense and intellectually challenging films of the year.
  15. The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
  16. It is a beautifully acted, exquisitely considered chamber drama of subtlety and nuance: spellbindingly tender and utterly involving
  17. Stark, visceral and unrelenting, 12 Years a Slave is not just a great film but a necessary one.
  18. This movie looks and feels superb, it is pure couture cinema. But there is also a excess of richness and bombast and for all its sleekness I felt that the spark of emotion was being hidden, and there is a kind of frustration in the operatic sadness.
    • 65 Metascore
    • 100 Critic Score
    Levinson has always been acutely interested in the minutiae of human behaviour, and it's this concern that makes The Bay the triumph that it is.
  19. The Look of Silence — like The Act of Killing — is arresting and important film-making.
  20. Brilliantly written, terrifically acted, superbly designed and shot; it's a sweet, sad, funny picture about the lost world of folk music which effortlessly immerses us in the period.
  21. Under the Skin is perhaps best viewed as an icy parable of love, sex and loneliness.
  22. This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.
  23. Citizenfour is a gripping record of how our rulers are addicted to gaining more and more power and control over us – if we let them.
  24. It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
  25. Utterly distinctive and all but unclassifiable, a musique concrète nightmare, a psycho-metaphysical implosion of anxiety, with strange-tasting traces of black comedy and movie-buff riffs. It is seriously weird and seriously good.
  26. Leviathan is acted and directed with unflinching ambition, moving with deliberative slowness and periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures.
  27. Exhibition is challenging, sensual, brilliant film-making.
  28. 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.
  29. 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.
  30. 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.
  31. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  32. 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.
  33. 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.
  34. 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.
  35. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  36. 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.
  37. It is a gripping film: horrible, scary and desperately sad.
  38. 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.
  39. 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.
  40. 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.

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