The Guardian's Scores

For 1,522 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 Act of Killing
Lowest review score: 20 Nine Lives
Score distribution:
1522 movie reviews
  1. A valuable, meticulously observed and wonderfully acted social-realist feature about a family under pressure.
  2. The film thrums with an ongoing existential dread. And yet, tellingly, Cuaron's film contains a top-note of compassion that strays at times towards outright sentimentality.
  3. Welcome to New York proves thoroughly engrossing. Here is a work of ragged glory; dirty and galvanic. [Unrated Version]
  4. What Meadowland refuses to do, to its great credit, is conform to expectations.
    • tbd Metascore
    • 80 Critic Score
    Harrelson is an affectionate director, finding memorable bits for performers all across the cast list, and his writing is peppered with arresting phrases.
  5. The pleasure in watching this documentary is derived from its countless twists.
  6. Most people will find Thru You Princess inspirational. A few will find it infuriating. But that’s frequently the case with a good documentary.
  7. Split goes all-in on McAvoy slipping from persona to persona, and luckily he’s got the acting chops to sell it.
  8. It’s an action-thriller with punch; Bridges gives the characterisation ballast and heft and Pine and Foster bring a new, grizzled maturity to their performances.
  9. It may wind up as the year's most significant horror film; it's certainly among the most original.
  10. Ken Loach's latest collaboration with screenwriter Paul Laverty is warm, funny and good-natured. It's a freewheeling social-realist caper – unworldly and at times almost childlike.
  11. Schirman's film (produced by the team behind Man on Wire and Searching For Sugarman) is as gripping as any high-concept Hollywood thriller and as psychologically knotty as Greek tragedy.
  12. Carrie Pilby the film is 100% Carrie Pilby the character, a living quirk machine that in a lesser actor’s hands might be insufferable.
  13. As with I Am Love, Guadagnino has put together something utterly distinctive here, a cocktail of intense emotions, transcendent surroundings and unexpected detours. A real pleasure.
  14. The "breathing" of the title becomes a cleverly recurrent motif, and Markovics's script circles around the themes of death and life in thoughtful and elegant ways: it is a well-carpentered screenplay which bears every sign of having been a labour of love, worked on fruitfully over many years.
  15. Perhaps above everything else, Arnold returns us to the most potent fact about the Cathy and Heathcliff love affair: it is a love affair between equals, not between a woman with coquettish "erotic capital" and a man with property and status.
  16. It is a thoroughly absorbing and moving film, especially when Hull has a dream about recovering his sight and seeing his children. The tone is sober, unflashy, and Hull’s reflections on God are presented without any hectoring or special pleading. Affecting and profoundly intelligent.
  17. No
    A fascinating case study in basic-level democracy.
  18. What’s most striking about Ixcanul is the elegant way in which it is shot. Scenes are given space, and the audience is allowed ample time to soak up the atmosphere.
  19. This film is conceived as a showcase for its performers, and, as that, it is immaculate.
  20. 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.
  21. It’s Shannon who leaves the most lasting impression.... She effortlessly mines the material for all its uncomfortable laughs.
  22. In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.
  23. There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.
  24. A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.
  25. Fukunaga brings flair, muscular storytelling, directness and a persuasively epic sweep to this brutal, heartrending movie.
  26. Nicole Kidman gives her best performance since "To Die For."
  27. McCullin emerges as an unsentimental, plain-speaking, thoughtful man, disgusted at the inhumanity of war – and yet candid about how he is also personally and professionally drawn to its drama.
  28. It is Davies’ ability to invest even the most apparently-humdrum moments with some form of intense radiance that sustains his film.
  29. The pure work-in-progress energy of all this is exhilarating, and if the resulting movie is flawed in its final act, then this is a flaw born of Jia’s heroic refusal to be content making the same sort of movie, and his insistence on trying to do something new with cinema and with storytelling.

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