The Guardian's Scores

For 1,577 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 Wolfpack
Lowest review score: 20 The Captive
Score distribution:
1577 movie reviews
  1. The debutant director applies himself with the same quiet assurance and attention to detail he’s displayed in his acting projects.
  2. The Founder is an absorbing and unexpectedly subtle movie about the genesis of the McDonald’s burger empire.
  3. The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
    • 76 Metascore
    • 80 Critic Score
    The life of Orry-Kelly is a story that needed to be told, and Armstrong stocks up a lovingly rendered homage-cum-investigation with oodles of verve and panache.
  4. He lived until recently in bohemian chaos in one of the "artist apartments" in Carnegie Hall, and cares nothing for money or vanity. That's real class.
  5. Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.
  6. The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.
  7. Blunt’s performance has an edge of steel. She brings off a mix of confidence, bewilderment and vulnerability, which functions very well against the alpha male characters higher up the chain of command.
  8. For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.
  9. Author is less a run-through of one of the biggest controversies to plague the literary world in the past century, than an illuminating study of the enigmatic and driven woman behind the phenomenon.
  10. There is release at the end of this fine film, but no euphoria; just a sense of having come through a period of evil, the memory of whose darkness will never entirely lift.
  11. For all of Mills’s cinematic tricks, he’s emerging as a great realist film-maker.
  12. The co-operation between Wenders and Salgado Jr works well, mixing the former's heavyweight presence as both interviewer and storyteller, and the latter's ability to harvest intimate, deep-buried subtleties that may otherwise not have seen the light of day. Together they have made a moving tribute to a peerless talent.
  13. While some viewers may complain that the action is too heavily weighted toward the ending, I’d argue that this is a strong example of destination-not-the-journey film-making.
    • 67 Metascore
    • 80 Critic Score
    This assured debut tells us teenage girls can – and will – save themselves.
  14. Dreams of a Life is a painful film, a Christmas film with no feelgood message, but one which I think would in fact have interested Charles Dickens. Watching it is an almost claustrophobic experience, but a very powerful and moving one.
  15. Private Property’s vicious form of prurience may make some queasy, and is hardly the type of movie that could get made today without great backlash, but there’s definitely more going on here than mere time-capsule curiosity.
  16. It's a film to leave you reeling but cheered, too. It's about battling love, as well as illness. A universal story, extracted from a unique one.
    • 89 Metascore
    • 80 Critic Score
    There aren’t really any surprises in The Other Side of Hope; it’s more like witnessing the ongoing cultivation of a humane philosophy. But the film is devilishly funny, economically constructed (the demise of Wikström’s marriage is shown in wordless images) and decked out in the director’s dismal palette of cobalt blue, moss green and burnt-marmalade orange.
  17. Joe
    Joe also stands as a reminder of what a terrific actor Cage can be when he is able to harness and channel his wilder impulses.
  18. If the lads were insufferable misogynistic pricks, Everybody Wants Some!! would make for horrible viewing. Thankfully they’re all intensely lovable.
  19. The Lunchbox is perfectly handled and beautifully acted; a quiet storm of banked emotions.
  20. The Dictator isn't going to win awards and it isn't as hip as Borat. Big goofy outrageous laughs is what it has to offer.
  21. In the Fog is an intense, slow-burning and haunting drama.
  22. Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
  23. It's a gem: gentle, eccentric, possessed of a distinctive sort of innocence – and also charming and funny.
  24. [Black] creates some outrageously contrived and protracted shootouts and one or two good old fashioned action explosions. But he also keeps the dialogue cracking along.
  25. Howe’s film is drenched in empathy, where violent actions aren’t exactly excused, but at least framed with understanding.
  26. If this film were a person, you’d want to give it a big hug, as you would a gawky teenager, and reassure it that it will be tough out there, that not everyone is going to get its idiosyncratic charms, but that’s OK because it’s awesome just the way it is.
  27. For what is, in essence, a by-numbers Disney sports flick, there’s endless freshness and vivacity to Mira Nair’s picture – her best in years.

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