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 Son of Saul
Lowest review score: 20 Red Dawn
Score distribution:
  1. Negative: 57 out of 870
870 movie reviews
  1. It goes on for ever without getting properly started: an epic of depthless self-indulgence.
  2. In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.
  3. There can hardly be a bigger waste of time than this piece of twee nonsense.
  4. Sadly, Savages plays up to Stone's worst tendencies: machismo, bombast and self-indulgence, and the factor that could conceivably have made this movie tolerable – humour – is off the menu.
  5. Scenes have a habit of stopping at any second, with or without whopping soundtrack.
  6. Remove the subtitles, and it's one of Cameron Crowe's head-in-the-clouds dramas, as scripted by M Night Shyamalan: an insultingly arbitrary reveal, preceded by vast, wailing washes of Pink Floyd and Sigur Rós. A very vanilla sky, this.
    • 53 Metascore
    • 20 Critic Score
    Shelton's migration towards more clear-cut drama is hampered by uneven tone and, most damning of all, dullness.
  7. A deafening, boring action pile-up that is more Call of Duty than Robocop.
  8. Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.
  9. It's leaden, boorish and dull.
    • 51 Metascore
    • 20 Critic Score
    A tedious, misjudged marriage of Olympic opening ceremony, Eurovision half-time show and most recorded nightmares, Worlds Away is set in a mysterious land of make-believe.
  10. Mon Roi, directed and co-written by Maïwenn (that is, film-maker and actor Maïwenn Le Besco) is an unendurable confection of complacent and self-admiring nonsense: shallow, narcissistic, histrionic and fake.
  11. The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
  12. Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.
    • 47 Metascore
    • 20 Critic Score
    Interior. Leather Bar ultimately rings hollow in its diatribe and agenda because its chief instigator refuses to open up.
  13. There is a creepy, undead feel to this lumbering comedy set in the offices of Google, and Owen Wilson and Vince Vaughn have a distinct Baron Samedi look in their eyes.
  14. Robert De Niro does further damage to a reputation much battered by "The Big Wedding."
  15. It reduces a complex and extraordinary case to soap. It makes you care less, for all its heavy-breathing and cheapo coaxing.
  16. The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
    • 42 Metascore
    • 30 Critic Score
    This is not a very good effort, seeming tired without being emotional. It looks like the end of the line...Superman III never flies as it should, or only does momentarily. [31 July 1983, p.21]
    • The Guardian
  17. A strained jeu d'ésprit which is smug, precious, carelessly constructed, emotionally negligible, and above all fantastically annoying. It's a terrible waste of real acting talent.
  18. A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.
  19. The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.
  20. This is television-level moviemaking top to bottom, from its preposterous premise, scenery-chomping performances, idiotic sound cues and force-fed jump-scares. Deliver Us From Evil delivers formula, and in a formulaic fashion.
  21. Director Niels Arden Orpev was in charge of the original "Girl with the Dragon Tattoo," starring Rapace, but fails to create a revenge thriller with anything like the same focus.
  22. The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  23. Embarrassing for everyone involved not because of any squeamish subject matter – quite the contrary, seeing retirement-age characters are refreshing – but because the story structure is so fake and so plodding.
  24. Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
  25. Someday, all US cinema may come to look like this: indifferently shot random events happening to semi-recognisable TV faces.
  26. As a straight procedural, this might have worked if Egoyan did not try the audience's patience and insult their intelligence with how utterly implausible his drama is. But line by line, scene by scene, it is offensively preposterous and crass.

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