The Guardian's Scores

For 1,486 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Star Wars: Episode VII - The Force Awakens
Lowest review score: 20 The Longest Ride
Score distribution:
1486 movie reviews
  1. Her
    I wished I liked it more. It is engagingly self-aware and excruciatingly self-conscious, wearing its hipness on its sleeve; it's ingenious and yet remarkably contrived. The film seems very new, but the sentimental ending is as old as the hills. There are some great moments.
  2. What Dream is Destiny makes clear is that commercial success really isn’t everything, and that being a director who isn’t bothered by it can lead to a singular if perhaps undervalued career.
  3. What Cumberbatch delivers is an impressively rounded character study of someone variously kind, prickly, aggressive, awkward and supremely confident. But it's almost too nuanced. Accuracy isn't all, but fumbling in the dark isn't always fun.
    • 59 Metascore
    • 60 Critic Score
    The tone is gently mischievous rather than exhaustingly wacky.
  4. Fashioned out of well-worn, if not hackneyed, horror tropes, Demonic is no meta-level deconstruction of the genre, but it’s a more than competent, fugue-like manipulation that freshens familiar components with a tricky structure.
  5. Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
    • 76 Metascore
    • 60 Critic Score
    It all escalates into an arch, knowing throwback to 80s horror-thrillers that's muddled in parts but never less than entertaining.
  6. It’s a big, ambitious, continent-spanning piece of work, concerned to show the Armenian horror was absorbed into the bloodstream of immigrant-descended population in the United States, but it is a little simplistic emotionally.
  7. The use of video diaries and the expository speeches are painfully on the nose at times, and dramatically spins a bit out of control by the end, while some of the acting is patchy. Still, one can’t but fail to be impressed with the film’s commitment to investigate its issues with subtlety and frankness.
  8. It’s a little hammy and soapy, with an occasional Pythonesque sense of its own importance but this film, directed by Richard Laxton, is performed with gusto.
  9. This is a formal and pedagogic production, but worthwhile nonetheless.
    • 47 Metascore
    • 60 Critic Score
    The premise is ripped from the headlines; the treatment is delicate and astute. Then we take a turn. Stockholm, Pennsylvania veers into movie-of-the-week melodrama and never finds its way safely back to shore.
  10. Certainly we care for Margaret and the way Walter has her trapped, but her character comes across as a cypher representing a great number of issues without being a real individual. This movie wants to be an oil painting, but ends up being more of a mass-produced, though good-quality print.
  11. This inevitably doesn’t have the charge of the first story, but it is still interestingly weird and dreamlike, and quite disturbing. A commercially driven sequel, sure – but still effective.
  12. While there are things to quibble with, there is also so much to like, and Trainwreck is still an important film. The romantic comedy, which it ultimately becomes, has been a dying genre of late, and Schumer’s effort, while flawed, is a reminder of what can make the genre so likable
  13. It makes the text feel newly alive, bristly, radical. A palpable hit, in any language.
    • 50 Metascore
    • 60 Critic Score
    You’re never sure what the characters are capable of achieving and the bottled-up energy that comes out of that feeling runs throughout.
  14. At times it looks like a parade of celebs, but the film comes belatedly to the point when it discusses Corbijn's parents, particularly his late father, whose approval Anton sought but perhaps never quite got.
  15. An irritating, baffling, fascinating film.
  16. It’s tremendously reassuring to find out that Spinney is just the sort of kind-hearted sweetheart you’d expect, a man who’s spent a lifetime making children happy. And it’s a kick to see archive footage and interviews with some of the old, non-puppeteer cast members.
  17. A banal and credulity-stretching finale that feels like a bad Twilight Zone episode, but the first hour or so is terrific.
  18. The fight scenes are terrific, but the haphazard plotting, off-the-peg characterisations and drippy music elsewhere lack flavour.
  19. It’s not exactly hard-hitting stuff, and isn’t meant to be, but it spins an entertaining yarn.
  20. Byrkit’s parable about choices and how they make us who we are has an eerie potency.
  21. All of which works terrifically well up to a point.
    • 61 Metascore
    • 60 Critic Score
    A wasted opportunity.
  22. The problem with Finding Dory is it doesn’t know when enough is enough. Its believe-in-yourself message is pounded with the subtlety of a hammerhead shark and the final action sequence is really too far-fetched to fathom.
  23. Subtle it isn't. But the entertainment rev counter more or less keeps turning over.
  24. It is up to McConaughey's crooked cop to carry the picture: a sleek, loungingly casual loner whose hunger for violence, like his hunger for fried chicken, is finally and horribly gratified.
  25. The film is in need of an edge that Peter Straughan’s screenplay fails to deliver.... Yet Sandra Bullock seems blissfully unaware of the film’s faults and delivers a performance that expertly plays on her strengths.

Top Trailers