The Guardian's Scores

For 1,856 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Blade Runner 2049
Lowest review score: 20 Teenage Mutant Ninja Turtles: Out of the Shadows
Score distribution:
1856 movie reviews
  1. For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  2. The spectacle of highly competent professionals going about their work is always absorbing, and Simons is an interesting man: reticent, calm, shy, intensely focused but apparently never losing control until the end.
  3. With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.
  4. The Lure’s premise alone will turn heads but once the novelty wears off the question will remain: where’s the story?
  5. The opening section, mixing shots of the Earth from outer space with recollections from astronauts about what it felt like to see it for real, is deeply moving and beautifully edited. However, once the film settles into a groove of guilt-tripping the viewer and trots out talking head after talking head...the experience grows numbingly monotonous and painfully sanctimonious.
  6. There’s something rather dusty about The Promise as George pushes his characters through a string of soapy machinations that feel incredibly familiar.
  7. She's entertaining enough, and like most fashion documentaries, it's a mine of pop-cultural history, but the unswervingly generous assessment of her achievements and permanently arch vocal style become a little wearying.
  8. It’s a film which drifts onward in search for an epiphany which doesn’t quite materialise. It is indulgent, and features a scenery-chewing, furniture-smashing performance from Shia LaBoeuf. Yet there is much that is valuable in the film: a sense of mood and space, interesting ideas and a tense triangular dynamic between its chief characters.
  9. No one in the film is particularly likeable, and while the global implications about epistemology are interesting, the specifics of this particular case, at least rendered here, are quite dull.
  10. Director Susanna White favours a generic spy-movie look: those chilly blue filters surely need resting now. Yet she works smartly with her actors: while Skarsgård wolfs down great handfuls of scenery, McGregor effectuates a thoughtful transformation from ineffectual tourist to man in the field.
  11. The Children Act is concerned with love, intimacy and moral responsibility and it is refreshing to see a movie which sets itself standards of this sort. But there is also something a little too neat in the way all these things are wrapped up. Emma Thompson’s performance, so elegant and vulnerable, carries the picture.
    • 73 Metascore
    • 60 Critic Score
    Comic book movies have spent a long time striving to be taken as serious, grown-up entertainment but Thor: Ragnarok is almost an admission that you can’t play this material straight. This is probably the wisest strategy with Thor.
  12. It’s a likeable film which borrows liberally from everything and everyone, and if it’s put together by numbers, well, then it is done capably enough.
    • 75 Metascore
    • 60 Critic Score
    Ultimately, it’s a sweet movie with some good laughs and a phenomenal rap soundtrack, but it fails to rise above the pack.
  13. It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.
  14. Ritchie’s film is at all times over the top, crashing around its digital landscapes in all manner of beserkness, sometimes whooshing along, sometimes stuck in the odd narrative doldrum. But it is often surprisingly entertaining, and whatever clunkers he has delivered in the past, Ritchie again shows that a film-maker of his craft and energy commands attention.
  15. The dry, strictly observational shooting style means the doc stays in the moment and rarely ventures out of the room where the programme unfolds, adding immediacy.
  16. A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.
  17. For Cash devotees who want a hitherto-hidden perspective on their man, though, this is invaluable viewing.
  18. [Clint Eastwood's] gripping, incurious film gives the impression of having not so much been directed as dictated. It stares so fixedly down the rifle sight that it is finally guilty of tunnel vision.
  19. Marsh's movie is calm, level, downbeat. The tension is subtle – perhaps subtler than it really should be.
  20. Saving Mr Banks is an indulgent, overlong picture which is always on the verge of becoming a mess. Thankfully, reliable old Tom Hanks snaps his fingers and – spit, spot – everything more or less gets cleared away.
  21. Though high-minded and well-intentioned – as well as being conceived on an epic scale – there’s something faintly stodgy and safety-first about the endeavour.
  22. Ultimately, it tries a little too hard to wring those tears.
  23. There’s no missing the polemical points being made or doubting the film is meant to inspire further action, but even hardened whale-eating oil oligarchs are likely to be charmed by the idealism and smarts of these audacious activists.
  24. It's an intriguing and distinctive story, soberly told.
  25. All good stuff from Depp, although by sending up Trump’s 1980s period, it feels a little off the money, and this is a figure who has already somehow absorbed derision into his skin and made himself immune to it.
  26. Nicolas Cage, Vanessa Hudgens and John Cusack give solid performances in this Prime Suspect-like thriller.
  27. This thoroughly emo body-swap fantasia, a sizable hit on home turf, demonstrates that [Makoto Shinkai] inherited much of his [Hayao Miyazaki's] artistry and charm, but not yet his narrative mastery – nor, crucially, that magic that distinguishes lasting artworks from well-drawn ’toons for teens.
    • 48 Metascore
    • 60 Critic Score
    Last Vegas is a good-natured bimbo of a movie, it'll do just about anything to please you, though luckily that includes delivering the 20 big laughs you feel you're owed (unlike The Hangovers), and gently jerking a tear or two. You enjoy it in spite of yourself.

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