The Guardian's Scores

For 924 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Blancanieves
Lowest review score: 20 Devil's Knot
Score distribution:
  1. Negative: 60 out of 924
924 movie reviews
  1. With a very simple premise, rapper Ice-T – this film's presenter and co-director with Andy Baybutt – has created a very enjoyable and often fascinating movie.
  2. Nebraska may not be startlingly new, and sometimes we can see the epiphanies looming up over the distant horizon; the tone is, moreover, lighter and more lenient than in earlier pictures like Sideways. But it is always funny and smart.
  3. [A] touching, insightful and, at the end of the day, extremely well-meaning film.
  4. Zero Motivation is a shot of honesty, in which short-term goals are far more important than larger geo-political ones. Perhaps because they are the only ones over which we have any control.
  5. It is an intriguing confection of a movie, announcing its influences candidly, but exerting its originality too.
    • 64 Metascore
    • 80 Critic Score
    The movie culminates in a tense, protracted standoff that keeps the audience on edge for way longer than is comfortable. I mean that as a compliment.
  6. It's a fascinating story.
  7. You'd need a heart of stone not to be won over by Wadjda, a rebel yell with a spoonful of sugar and a pungent sense of a Riyadh society split between the home, the madrasa and the shopping mall.
  8. Calvary boasts a sharp sense of place and a deep love of language. It's puckish and playful, mercurial and clever, rattling with gallows laughter as it paints a portrait of an Irish community that is at once intimate and alienated.
  9. It's a guilty-pleasure romp of a documentary, filmed at last year's Cannes film festival, all about the gorgeous, deadly and heartbreaking business of cinema itself.
  10. An intelligent and resonant work from Norwegian director Joachim Trier, a movie that yields up its meanings and implications slowly.
  11. Meadows is clearly not interested in lifting the biographical lid on anyone, just getting alongside the band, and picking up on their energy, vulnerability and excitement. He has no agenda; he just loves the Stone Roses, and it's a great, heartfelt tribute.
  12. What a strange and intriguing film.
  13. This is a bitter, jagged, disaffected drama, pessimistic about China, pessimistic about the whole world. One characters asks another if he ever feels like travelling abroad. "Why would I?" he replies. "Everywhere is broke. Foreigners come here now." Jia Zhang-ke's movie gives us a brutal unwelcome.
  14. Among Jarecki's interviewees is David Simon (author of The Wire) who is incandescent with contempt for the system.
    • 86 Metascore
    • 80 Critic Score
    It’s grim, unfussy and deeply moving.
    • 70 Metascore
    • 80 Critic Score
    In the first movie, an injection transformed wimpy Steve Rogers into strapping Captain America; similarly, this sequel gives the flagging comic-book movie an adrenaline shot of relevance. You've got to hand it to them.
  15. The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.
  16. The love story – and it can be called that – between the doctor and Melanie is presented with candour and tenderness. There is a new humanity to Seidl's work; it could be his best film so far.
  17. Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
  18. It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  19. Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.
  20. A remorselessly rousing attempt to do for the Scottish pub rock twins what Mamma Mia! did for Abba or Tommy for The Who.
  21. [Room 237] raises very interesting ideas about how we view a film, about what happens if we take the act of viewing down to a deeper, molecular level, and about how a movie's significance and effect need not be those intentionally willed by the director.
  22. It hasn’t anything as genuinely emotionally devastating as Up, or the subtlety and inspired subversion of Monsters Inc. and the Toy Stories which it certainly resembles at various stages. But it is certainly a terrifically likeable, ebullient and seductive piece of entertainment, taken at full-throttle.
  23. Sono retains his go-for-the-throat approach, but the violence here somehow connects with the brutal economic conditions, and he fosters very tender, affecting performances from Shôta Sometani and Fumi Nikaidô as his crushed young lovers.
  24. As activist Larry Kramer remarked, the movement had "its good cops and its bad cops", and there is a remarkable, angry, passionate funeral speech from campaigner Bob Rafsky that helped mobilise Act Up and awaken America's conscience.
  25. This movie has the same desolate quality as Philip Larkin's poem The Building, and yet it is tender and lovable, too.
    • 79 Metascore
    • 80 Critic Score
    A cameo from Geena Davis is particularly tart, and all the better for it.
  26. It's a long movie, and by the end you may well feel every bit as wrung out as the characters. But it is genuinely passionate film-making.

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