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 Nocturnal Animals
Lowest review score: 20 The Man with the Iron Fists
Score distribution:
1522 movie reviews
  1. The movie has some real archival value and the simple juxtaposition of Polanski and Stewart – the oddest couple in Cannes, surely – has a surreal impact. But I wonder if there isn't something a little bit placid and self-satisfied about the film, which is paced remarkably slowly, given the subject matter.
  2. All in all a comedy that starts out like a pudding made of first world problems ends up warming your heart and that is in no small part down to the strength of its two leads. As a final act, it's a touching one.
  3. This new movie could arguably have given Elba more to do, earlier in the picture, but it is the inter-relationship of the Enterprise’s crew which is the real source of drama. An entertaining adventure.
  4. There are moments when the film aches for focus. This again is down to Galloway. He is, like Blair, charismatic, opportunistic and never entirely consistent. The documentary lives and dies on those strengths and weaknesses.
  5. Salvo is a strange, involving, if flawed movie.
  6. There is talent and ambition here: the film has style, mood, references – and, inevitably, a great opening and credit sequence – though it's short on substance.
  7. It's a likable film, though not a sensational development in Tim Burton's career.
  8. There's the frustrating sense of ideas bubbling too low beneath the surface, of mordant jokes serving as an end rather than a means.
  9. Pure uncompromising yuckiness is what this comedy delivers. A grossout smack in the face. Deplorable. Unspeakable. Often funny.
  10. The movie's pace flags a good deal once Bangladesh has been born in 1971, and the adult characters are much less interesting than their child counterparts, but there's enough here to entertain – and to send audiences back to the book.
  11. It’s flawed by a slightly unconvincing and anticlimactic gun-related ending, but well acted, forthright and confident in the universe it creates.
    • 66 Metascore
    • 60 Critic Score
    The animation is intricate and beautiful but the narrative is clunky and heavy-handed in places.
  12. There’s a streak of old-fashioned B-movie spooky playfulness here, and when actual, motivated characters are on screen it’s delightful.
  13. The Pusher remake may not have the full flavour of the original, but it makes brutally clear how the economics of drugs make paranoia and violence a fact of life.
  14. The film plays like nirvana for Pee-wee fans.
  15. It's indulgent, but Macdonald's performance is attractive and relaxed.
  16. It's certainly atmospheric and cool in a new-New Wave way, but really, what's the point?
    • 76 Metascore
    • 60 Critic Score
    Next to Gump, the film has the moral force of a George Steiner essay, but what lends it that force are not the carefully calibrated moral ambiguities of the script, but the bruised, defiant soul that appears to us in the form of Denzel Washington.
  17. Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
  18. Emma Thompson gives us a scene-stealing performance which is enjoyably macabre.
  19. A genial, lightweight farce, which largely approximates Hornby's distinctively bittersweet tone.
  20. However smart and sophisticated this film is, it may disappoint those who, in their hearts, would still like to be genuinely scared.
  21. This odd, nasty yet rather funny little film tears apart ideas of sisterhood and female friendship and replaces them with burning hate and gratuitous violence.
  22. The Wright/Stoppard Anna Karenina is not a total success, but it's a bold and creative response to the novel.
  23. [Jay Roach] wants the film to be fun, while the story is serious. It’s a good idea and an admirable intention. But it does suffer the odd wobble.
  24. McKay’s attempt to cover so much ground is admirable; and the outrage that courses throughout is deeply felt. But his busy execution...feels labored.
  25. A slight but engaging two-hander.
  26. Sit in the front – and don't peer too hard – and Chicken With Plums casts an undeniable spell. It is bold, exotic and distinctive, particularly during the animated angel of death sequence.
  27. Cheadle’s got the cred, and the period evocation is tremendous. It’s just that I’m not sure he has all that much to say
  28. When you have two of today’s best working actors acting on a high-wire to do justice to two of the most recognisable figures of the 20th century, it’s best to keep the focus solely located on them.

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