The Guardian's Scores

For 1,549 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 Victoria
Lowest review score: 20 Deliver Us From Evil
Score distribution:
1549 movie reviews
  1. Tarantino has created another breathtakingly stylish and clever film, a Jacobean western, intimate yet somehow weirdly colossal, once again releasing his own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale.
  2. It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
  3. 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.
  4. 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.
  5. What is so distinctive about this Iñárritu picture is its unitary control and its fluency: no matter how extended, the film’s tense story is under the director’s complete control and he unspools great meandering, bravura travelling shots to tell it: not dissimilar, in some ways, to his previous picture, Birdman. The movie is as thrilling and painful as a sheet of ice held to the skin.
  6. Kasper Collin’s I Called Him Morgan isn’t just the greatest jazz documentary since Let’s Get Lost, it’s a documentary-as-jazz.
  7. Exhibition is challenging, sensual, brilliant film-making.
  8. 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.
  9. 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.
  10. 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.
  11. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
    • 73 Metascore
    • 100 Critic Score
    The Club sees the film-maker at his most masterful, steering the picture through complex tonal shifts without letting it capsize into hysteria, even when the characters do.
  12. 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.
  13. The Force Awakens is ridiculous and melodramatic and sentimental of course, but exciting and brimming with energy and its own kind of generosity. What a Christmas present.
    • 96 Metascore
    • 100 Critic Score
    It may be a timely film, but it is its timelessness, as well as its depths of compassion, that qualify it as a great one.
  14. The story unfolds in a daring sequence of narrative leaps.
  15. 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.
    • 92 Metascore
    • 100 Critic Score
    This isn’t really a film in search of a definitive truth – it’s a deliberate provocation to the conventional notion of truth in the age of media frenzies over salacious crime.
  16. Some of the scenes in the LA art world are a bit broad. But this is a terrifically absorbing thriller with that vodka-kick of pure malice.
  17. 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.
  18. 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.
  19. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  20. Sachs’ approach is so humane, and his characters so fully rendered, that an agenda never announces itself; instead, Sachs’ worldview seeps into you. He’s that skilled a film-maker.
  21. That entertainment enchanter JK Rowling has come storming back to the world of magic in a shower of supernatural sparks - and created a glorious fantasy-romance adventure.
  22. 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.
  23. It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  24. It is a gripping film: horrible, scary and desperately sad.
  25. Bridge of Spies has a brassy and justified confidence in its own narrative flair.
    • 92 Metascore
    • 100 Critic Score
    The film is about more than simply personal loss and Heineman’s admiration of journalist activists. It’s a guide to the media war being fought between Isis’s video team and RBSS.
  26. Directors and activists Sabaah Folayan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television.

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