The Guardian's Scores

For 870 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Foxcatcher
Lowest review score: 20 Jimmy P.
Score distribution:
  1. Negative: 57 out of 870
870 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
  5. 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.
  6. A remorselessly rousing attempt to do for the Scottish pub rock twins what Mamma Mia! did for Abba or Tommy for The Who.
  7. [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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Finding Fela does an exemplary job of explaining, in musical terms, what made Fela standout, a simple enough step that most music documentaries ignore.
    • 59 Metascore
    • 80 Critic Score
    In a world of compromised adaptations, Dredd is something of a triumph.
  14. Once you commit to the lexicon – to the blunderbusses, the silver, the loops that close and the loops let run – you're in for a breathless ride. It's been a patchy summer for sci-fi, absent of anything that really sticks in the mind. Johnson's deep, distinctive film plays on repeat.
  15. Enthralling, mysterious and intimately upsetting – a terrible demonstration of how poverty creates a space which irrational fear must fill.
  16. Ultimately, Experimenter finds a glimmer of hope by simply revealing itself. Maybe if more people are educated about the dangers of obedience, they’ll put up more resistance. It can’t hurt to hope.
  17. Part of the appeal of this affecting and powerful drama is that it puts the viewer right in the moment at every stage, using authentic locations and tsunami survivors to hammer home the reality of this tragedy.
    • tbd Metascore
    • 80 Critic Score
    Gibney’s film concludes that Jobs had the monomaniacal focus of a monk but none of the empathy of one, and it makes a powerful case.
  18. If Assayas's film finally falls just shy of being great art itself, it is at least handsomely staged and played with conviction.
  19. It is forthright, powerful, composed and directed with clarity and overwhelming force, yet capable of great subtlety and nuance.
  20. Turturro has given Allen his biggest and best on-screen turn in years: the part was written for him and it's full of scope for amiable kvetching and nimble slapstick.
  21. The Hunger Games is that rarest of beasts: a Hollywood action blockbuster that is smart, taut and knotty. Ably filleted from the Suzanne Collins bestseller, it's a compelling, lightly satirical tale.
    • 92 Metascore
    • 80 Critic Score
    High-school students have plenty of growing pains to offload, and Gomez-Rejon clearly knows what makes them tick. His film is at once buzzy, fun and confronting.
    • 84 Metascore
    • 80 Critic Score
    Spy confirms Feig’s and McCarthy’s instinct for both the zeitgeist and the funnybone, and is sure to ramp up anticipation for Ghostbusters even higher – as well as being a delight in its own right.
  22. In its outrageous way, 21 Jump Street has real laughs.
  23. You, the Living is a very funny film - though in the darkest possible way. It is a silent comedy, but with words.
  24. What Richard Did is an engrossing and intelligent drama that throbs in the mind for hours after the final credits.
  25. Tommy Lee Jones shows some true storytelling grit in this superbly watchable frontier western; he has a muscular and confident command of narrative, driving the plot onward with a real whip-crack, and easily handles the tonal swings between brutal shock, black comedy and sentimentality.

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