The Guardian's Scores

For 1,878 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 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Doctor Zhivago
Lowest review score: 20 My King
Score distribution:
1878 movie reviews
    • 85 Metascore
    • 100 Critic Score
    [A] brilliant documentary.
  1. The Founder is an absorbing and unexpectedly subtle movie about the genesis of the McDonald’s burger empire.
  2. As well as its plot being eerily similar to that of Demolition, it’s just as misguided.
    • 46 Metascore
    • 40 Critic Score
    The acting is wooden and the special effects aren’t all that special, but it’s a spirited effort and doesn’t drag during its 78 minutes. You’ll never approach après-ski in the same way again.
  3. Filmed with competence rather than actual verve, Alone in Berlin works – just about. There’s enough of a thriller about it to hold the interest, even if it’s a bit on the stodgy side.
  4. It’s not exactly hard-hitting stuff, and isn’t meant to be, but it spins an entertaining yarn.
  5. The Portuguese Nun (2009) was a gem of gentle comedy, and his new drama, The Son of Joseph, has the same droll innocence and lovability. With its carefully controlled, decelerated dialogue, it is weirdly moving in just the same way.
  6. Not so much a documentary, more a sleek two-hour commercial for itself, Reset is a glossily produced non-look behind the scenes at the Paris Opera Ballet.
    • 42 Metascore
    • 60 Critic Score
    It won’t be remembered as Zhang’s best film, but the director’s artistic touch is on display in his long panoramic sweeps and artful use of colour. Simultaneously futuristic and historic, the visual spectacle carries the film.
  7. These were two women who reached a state of balance thanks to an almost aggressive honesty.
  8. By the end of a long two hours, there’s not much life left.
  9. There are substantial talents involved in this film, but it doesn’t come together.
  10. There’s not much that glitters in Gold, a lackluster caper that proves that even the priciest ore can bore.
  11. It has tentacles and hot wheels, yes, but not the legs or bright ideas to sustain itself.
  12. Very solid, very sound entertainment, with thumpingly good Pritam songs that make Eye of the Tiger seem like pipsqueakery.
  13. A disappointment.
  14. The film is a bit stagey sometimes, but ambitious and insightful. Tovey is excellent as he shows someone progressing from innocence to fear and then to loneliness.
  15. In the hands of director Christopher N Rowley and an assortment of screenwriters (including Byng), the result is a rebarbative mess – mirthless and shoddy like a disposable Christmas stocking novelty.
  16. It’s rare to see a film quite so lacking in animus. It exists only to gouge money out of gamers. They might well want to stick to the game.
  17. What this exceptionally lucid film-survey reveals is what has to go on at ground level, and beneath the surface, in order to power a powerhouse.
  18. Stalking tactics bolstering romantic comedies are by no means new, and over the decades, film-makers have proved adept at somehow planing down real-world nastiness, but here it’s gruesomely inescapable.
  19. This is another really entertaining fantasy with fan-fiction energy and attack.
  20. This horrifyingly yucky, toxically cutesy ensemble dramedy creates a Chernobyl atmosphere of manipulative sentimentality, topped off with an ending which M Night Shyamalan might reject as too ridiculous.
  21. Hidden Figures is a bouncy, almost garish feelgood girl pic. A movie that knows right from wrong and doesn’t see any use in complicating matters.
  22. With ambition and reach, and often a real dramatic grandeur, Scorsese’s film has addressed the imperial crisis of Christian evangelists with stamina, seriousness and a gusto comparable to David Lean’s.
  23. It’s a film destined for iTunes rental status, but kept from flatlining with a pretty dependable string of stupid yet funny one-liners, and a nice turn from TJ Miller as Aniston’s slacker brother.
  24. It’s Holmes brazen performance that remains the chief drawing point in seeking out All We Had. She burrows deep under the skin of Rita, a woman firmly aware of her many flaws and tragically unable to address them.
  25. Raised up on the big screen, the victories look even easier and more jaw-droppingly elemental: flashes of lightning, allowing us to share in the pleasure of watching a fellow human doing something simple preternaturally well.
  26. Mark Waters wrings occasional snickers from a patchy script, but the whole feels tamely conventional: misanthropy passed through the usual Hollywood motions.
  27. Even though director Benjamin Ree has accessed the family archive of footage showing young Magnus as a socially awkward prodigy through the years and interviewed him directly many times, the film barely dents his inviolate wall of polite reticence.

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