The Guardian's Scores

For 1,454 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Look of Silence
Lowest review score: 20 Dead Man Down
Score distribution:
1454 movie reviews
  1. Perhaps above everything else, Arnold returns us to the most potent fact about the Cathy and Heathcliff love affair: it is a love affair between equals, not between a woman with coquettish "erotic capital" and a man with property and status.
  2. It is a thoroughly absorbing and moving film, especially when Hull has a dream about recovering his sight and seeing his children. The tone is sober, unflashy, and Hull’s reflections on God are presented without any hectoring or special pleading. Affecting and profoundly intelligent.
  3. No
    A fascinating case study in basic-level democracy.
  4. What’s most striking about Ixcanul is the elegant way in which it is shot. Scenes are given space, and the audience is allowed ample time to soak up the atmosphere.
  5. This film is conceived as a showcase for its performers, and, as that, it is immaculate.
  6. It’s Shannon who leaves the most lasting impression.... She effortlessly mines the material for all its uncomfortable laughs.
  7. In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.
  8. There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.
  9. A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.
  10. Fukunaga brings flair, muscular storytelling, directness and a persuasively epic sweep to this brutal, heartrending movie.
  11. Nicole Kidman gives her best performance since "To Die For."
  12. McCullin emerges as an unsentimental, plain-speaking, thoughtful man, disgusted at the inhumanity of war – and yet candid about how he is also personally and professionally drawn to its drama.
  13. It is Davies’ ability to invest even the most apparently-humdrum moments with some form of intense radiance that sustains his film.
  14. The pure work-in-progress energy of all this is exhilarating, and if the resulting movie is flawed in its final act, then this is a flaw born of Jia’s heroic refusal to be content making the same sort of movie, and his insistence on trying to do something new with cinema and with storytelling.
  15. If ever a movie came from the heart, it was Giuseppe Tornatore's nostalgic Cinema Paradiso (1988) now getting a rerelease to celebrate its silver jubilee.
  16. With its pale, washed-out colour palette, its eerily slow, almost somnambulist pacing and occasionally bizarre emotional demonstrations, Post Mortem is strangely gripping.
  17. Xavier Dolan’s It’s Only the End of the World is histrionic and claustrophobic: deliberately oppressive and pretty well pop-eyed in its madness – and yet a brilliant, stylised and hallucinatory evocation of family dysfunction.
  18. It is all intensely controlled, although this is a drama that goes by the book, in all senses; there are no unabsorbed events to disorder the parable’s secular/religious alignment, and the Greeneian miracle it eventually conjures is arguably a little too pat. Yet it is also strangely moving.
  19. Kazan brings to the role a sweet and dignified vulnerability, keeping rigorously to plausible human behaviour.
  20. Richness, warmth and tenderness pulse from this lovely documentary.
  21. Hansen-Løve has an acute eye for the details of Paul’s world. Glamour is twinned with mundanity, beauty with boorishness and friendship with selfishness, while artistic endeavour is undercut by self-indulgence.
  22. The Wolf of Wall Street, for all its abundant appeal, is no Greek tragedy. It lacks the wildness of Taxi Driver, the jeopardy of GoodFellas and the anguish of Raging Bull. Far better to view this as a stylistic homage, a remastered greatest hits compilation, an amiable bit of self-infringement.
  23. Australian director Cate Shortland's drama is overflowing with such poetic visual touches, conjuring up a fairytale landscape of long shadows, wafting curtains and waving fronds.
  24. A very valuable film.
  25. Like Reichardt’s directorial hand, the performances are understated across the board, but deeply felt.
  26. Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.
  27. Lars von Trier's Nymphomaniac bludgeons the body and tenderises the soul. It is perplexing, preposterous and utterly fascinating.
  28. In between songs there's a movie within a movie as Dane DeHaan silently takes on the forces of anarchy on behalf of the band. Awesome.
  29. A toxic cloud of anger, suspicion and sadness hangs over this documentary.
  30. Macdonald grants us insight into the process and, as expected, it’s hardly as haphazard as sceptics might think.

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