The Guardian's Scores

For 1,609 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Lowest review score: 20 May I Kill U?
Score distribution:
1609 movie reviews
  1. You’ll shed a tear or two, possibly more.
  2. The story is told with stark and fierce plainness: unadorned, unapologetic, even unevolved. Loach’s movie offends against the tacitly accepted rules of sophisticated good taste: subtlety, irony and indirection.
  3. It is an eccentric and entertaining movie soap-opera.
  4. His fly on the wall approach never feels exploitative – in instances, it yields surprising empathy. In spite of his characters’ actions, Minervini miraculously captures traces of profound humanity.
  5. Exhilarating and moving. This is a very satisfying love story.
  6. Like the emotional equivalent of a massage with a sandpaper loofah, the film leaves you feeling raw and tender, thanks particularly to the knockout performances from the small cast, especially Collette.
  7. More frightening (yet strangely entertaining) than most of today’s narrative horror films.
  8. It’s a beguiling film: subtle, sensuous and delicate.
  9. It’s a tight, slick polemic which doesn’t shy from the complexity surrounding the debate or the fact it wants you the viewer to get up and do something about it.
  10. Tim Roth is excellent as David: impassive and enigmatic, withholding the truth about himself, but radiating in repose a sadness and a swallowed pain.
  11. An incredibly provocative piece of work, featuring a brave and vulnerable performance by Naomi Watts (who seems perhaps a little too young) and a career-high acting masterclass from Robin Wright (who is cast perfectly).
  12. It’s a minor work that knows its place in the margins, but is thought-provoking and surreptitiously insightful – and very funny.
  13. Wiener-Dog doesn’t find Solondz going light to deliver an inspirational medley. Instead, he’s created arguably his most caustic film since Happiness.
  14. Equity takes us inside modern Wall Street in a unique and gripping manner.
  15. Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.
  16. It forces viewers to take long looks at his most controversial imagery, proving that he still has the power to provoke, seduce and enrage.
  17. It certainly provides that rarest of things: relaxing enjoyment. In all its uncompromising goofiness, 22 Jump Street brings onstream a sugar-rush of entertainment.
    • 82 Metascore
    • 80 Critic Score
    Ponsoldt elicits remarkably strong performances from his two young leads, who display a depth of feeling that's breathtaking in its simplicity and honest. There's an inherent chemistry here that's both disarming and refreshing.
  18. If it's possible for a picture to be at once ideal and imperfect, then Damsels fits the bill.
  19. In fits and starts, this is a stunning picture. At its best, Winter Sleep shows Ceylan to be as psychologically rigorous, in his way, as Ingmar Bergman before him.
  20. As repellent a figure as many may still find Gibson, I have to report he’s absolutely hit Hacksaw Ridge out of the park.
  21. Danny Boyle’s T2 Trainspotting is everything I could reasonably have hoped for - scary, funny, desperately sad, with many a bold visual flourish.
  22. Raw
    What is very impressive about Raw is that absolutely everything about it is disquieting, not just the obvious moments of revulsion: there is no let up in the ambient background buzz of fear.
  23. If a movie as rich and understanding as Mediterranea suddenly appeared every time we read about a difficult issue in the paper, maybe all of the world’s problems could be solved.
  24. The movie is rich on its own as a character piece about the difficulties of being bi-racial, especially at the very specific location of Columbia University.
  25. Things to Come is a smart, earnest undertaking: an exploration of the insecurity that can hit any of us, at any age, when we start to question the life we’ve built.
  26. When something is this engaging (and funny, did I mention funny?) it ceases to merely be about ideas and becomes, even in this borderline sci-fi context, a thoughtful movie about people.
  27. This is a fluent, confident and deeply felt movie: unmistakably, if not exactly nakedly, autobiographical.
    • 60 Metascore
    • 80 Critic Score
    The story of the ingenue who enters the fold and awakens deep feelings is nothing new, but Doremus makes it all utterly captivating. He mines just the right amount of drama and spontaneous comedy from each moment and the foreshadowing is perfectly weighted.
  28. As Jonathan Demme’s concert documentary Justin Timberlake + the Tennessee Kids indisputably shows, Timberlake is only truly in his element when on stage being a showman.

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