The Guardian's Scores

For 1,069 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: 60
Highest review score: 100 Before Midnight
Lowest review score: 20 Laurence Anyways
Score distribution:
1,069 movie reviews
  1. 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.
  2. Under the Skin is perhaps best viewed as an icy parable of love, sex and loneliness.
  3. 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.
  4. It’s deeply silly but uproariously entertaining. At the end, I almost felt guilty for enjoying it all quite so much - almost.
  5. Amy
    It is an overwhelming story, and despite everyone knowing the ending, it is as gripping as a thriller: Kapadia has fashioned and shaped it with masterly flair.
  6. 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.
  7. It could be the finest hour for both of its lead actors.
  8. It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
  9. 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.
  10. 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.
  11. Exhibition is challenging, sensual, brilliant film-making.
  12. 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.
  13. 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.
  14. 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.
  15. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  16. 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.
  17. Putting aside the worthiness of its politics, this is also a crackling, tense thriller, graced with beautifully measured performances, that explores with wisdom and sorrow the best and worst in human nature.
  18. 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.
  19. 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.
  20. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  21. 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.
  22. It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  23. It is a gripping film: horrible, scary and desperately sad.
  24. Bridge of Spies has a brassy and justified confidence in its own narrative flair.
  25. 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.
  26. 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.
  27. 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.
  28. This documentary by Mike Lerner and Maxim Pozdorovkin argues that Pussy Riot suffered an old-fashioned Soviet show trial, and what emerges is the effrontery and hypocrisy of Putin's attempt to associate these three young women with the Bolsheviks' suppression of religion.
  29. What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.
  30. Julian Roman Pölsler's bewitching debut manages to be at once a creepy sci-fi parable, a feminist Robinson Crusoe and a clear-eyed ode to the wonders of nature experienced in solitude. Walden pond with added wall.

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