The Guardian's Scores

For 1,997 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 There Will Be Blood
Lowest review score: 20 Septembers of Shiraz
Score distribution:
1997 movie reviews
  1. It's an intriguing movie, in some ways, but its contrived and even bizarre final revelation depends on coincidences of almost Hardyesque proportions. It is not really believable, and yet if it is not taken literally, but as a cinematic prose-poem, it has undoubted force.
  2. Perhaps this tells us nothing new about life on the inside in the US (there are rapes, riots and suicides), but it at least handles its brief with pace and precision.
  3. Franco's As I Lay Dying is a worthwhile movie, approached in an intelligent and creative spirit. The ensemble work from the actors is generally very strong, with a star turn from Nelson as the prematurely aged patriarch, and the story is presented lucidly and confidently.
    • 79 Metascore
    • 60 Critic Score
    A promising idea, and yet ultimately too cute: it is a one-to-one allegory, and this much of the film is spent exploring this not very rewarding vein.
  4. It’s a great story that lends itself to some striking scenes. Yet the film in total – if I may paraphrase Webb’s critics – has a number of holes.
  5. Foy's talent lies in suggesting horror, not delivering it.
  6. The story unfolds intriguingly within an intimate, almost claustrophobic environment. There is perhaps something ultimately undeveloped about it, but the film is a well acted, well presented piece of work.
  7. The Jason Bateman comedy model hasn’t quite been radically altered in Game Night but it’s one of his more entertaining outings. Just don’t count on remembering much of it once the night is over.
  8. It's by no means a triumph, but one of the enjoyable things about Men in Black has always been the malleable nature of its reality.
  9. In all honesty The Untamed doesn’t seem to go anywhere special. But connoisseurs of oddness may cherish it.
  10. The film has its own kind of mad, migrainey energy and individuality, and Robert Pattinson gives a strong, charismatic performance.
  11. Joe Swanberg's follow-up to Drinking Buddies is short and slight, but undeniably charming.
  12. It is a high-minded, often touching movie which replaces the nihilism and miserabilism often to be found in social realism, and replaces them with a positive vision of what the state can – and can’t – do to help.
  13. This hoary, hackneyed old served with such relish that the fun proves infectious.
  14. As the indignation rises, the outcome of this battle cannot entirely be guessed, although one closing credit appears to address Big Pharma directly: "Help prevent a sequel."
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. Salvo is a strange, involving, if flawed movie.
  20. 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.
  21. There is an outstanding film somewhere inside this sprawling mass of ideas, which might have been shaped more exactingly in the edit.
  22. It's a likable film, though not a sensational development in Tim Burton's career.
  23. This is a conversation starter, not especially distinguished as film-making but vital and deeply felt.
  24. There's the frustrating sense of ideas bubbling too low beneath the surface, of mordant jokes serving as an end rather than a means.
  25. Pure uncompromising yuckiness is what this comedy delivers. A grossout smack in the face. Deplorable. Unspeakable. Often funny.
  26. For all his faults as a narrative film-maker, Herzog can at least be counted on to keep his non-documentary excursions unpredictable.
  27. 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.
  28. 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.

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