The Guardian's Scores

For 1,005 reviews, this publication has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Berberian Sound Studio
Lowest review score: 20 The Pyramid
Score distribution:
1,005 movie reviews
  1. 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).
  2. 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.
  3. 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.
  4. If it's possible for a picture to be at once ideal and imperfect, then Damsels fits the bill.
  5. 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.
  6. 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.
    • 89 Metascore
    • 80 Critic Score
    Slightly overlong and convoluted at times, it presents compelling, sexy characters spouting sharp, believable dialogue.
  7. At its best, Malick's cinematic rhapsody is glorious; during his uncertain moments, he appears to be repeating himself. But what delight there is in this film.
  8. Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.
  9. As for Violet, Emily Blunt brings to the role genuine sympathy, and she continues to thaw out the ice-queen hauteur of her earlier movies.
  10. This is a tough, muscular, idealistic drama that packs a mighty punch, and Shannon and Garfield are excellent.
  11. What could have been simply bizarre, sentimental or contrived here becomes an utterly absorbing love story.
  12. Laughs emerge from the recognisable micro-horrors found in modern living, which, if the world was run in the way we all agree it should be run, wouldn’t exist.
  13. This director, in the past, has shown herself to be an ace with the teasing, hanging ending and Night Moves saves the best for last.
  14. It’s creative and experimental in just the right spirit, though with an asymmetric flaw. The film is a kind of diptych in which one of the panels is more fully achieved than the other.
  15. Could Nasheed be the political Prospero to save the island – and the planet? Well, now he is out of power, and the Copenhagen summit was a disappointment. Perhaps his advocacy will help to bring the climate change issue back into political fashion.
  16. Gone Girl, finally, may be no more than a storm in a teacup. But what an elegant, bone-china teacup this is. And what a fearsome force-10 gale we have brewing inside.
  17. The weird oppression and seediness of the times is elegantly captured, and Hoss coolly conveys Barbara's highly strung desperation.
  18. What results is an immensely detailed overview of Marley's life and times, from the hillside Jamaican shack where he grew up to the snowy Bavarian clinic where he spent his last weeks in a fruitless attempt to cure the cancer that killed him in 1981, aged 36.
  19. Gerwig's performance is full of depth and nuance; self-conscious without being mawkish, clever behind the kook.
  20. It is effortlessly and unassumingly funny – and terrifically smart.
    • 52 Metascore
    • 80 Critic Score
    The whole thing proves unexpectedly entertaining.
  21. Temple's film is refreshingly free of cliché. A very heady experience.
  22. Dunham, who pads through much of this extremely well-written, often funny and very touching film in the semi-nude, doesn't give a damn about any of it.
  23. The Aardman vision of contemporary England is generous, inclusive and - if a fast-moving film about a smart-alec sheep can allow itself such grandiose ambitions – genuinely inspiring.
  24. The way the allegory works out is not exactly subtle or unexpected, but is strangely moving, despite the gruesomeness that has gone before. All in all, a treat.
  25. Dolan's energy and attack is thrilling; his movie is often brilliant and very funny in ways which smash through the barriers marked Incorrect and Inappropriate.
    • 90 Metascore
    • 80 Critic Score
    It’s a testament to Petzold’s sane head, steady hand and effortless storytelling skill that implausible plot-points are smuggled past us in their own blood-soaked bandages.

Top Trailers