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. What an astonishing achievement; what a beautiful movie.
  2. It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.
  3. Stark, visceral and unrelenting, 12 Years a Slave is not just a great film but a necessary one.
  4. The film thrums with an ongoing existential dread. And yet, tellingly, Cuaron's film contains a top-note of compassion that strays at times towards outright sentimentality.
    • 95 Metascore
    • 100 Critic Score
    Telling a nearly three-hour story with an ending everyone knows, Bigelow and Boal have managed to craft one of the most intense and intellectually challenging films of the year.
  5. Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
  6. What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
  7. The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.
  8. It is a brilliant, subversive account of class relations and the changing times.
  9. The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
  10. Brilliantly written, terrifically acted, superbly designed and shot; it's a sweet, sad, funny picture about the lost world of folk music which effortlessly immerses us in the period.
    • 92 Metascore
    • 80 Critic Score
    High-school students have plenty of growing pains to offload, and Gomez-Rejon clearly knows what makes them tick. His film is at once buzzy, fun and confronting.
  11. Leviathan is acted and directed with unflinching ambition, moving with deliberative slowness and periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures.
  12. The Look of Silence — like The Act of Killing — is arresting and important film-making.
  13. Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
  14. Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
  15. Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
  16. This movie may be too slow and verbose to be the next breakout horror hit, but its focus on themes over plot is what elevates it to something near greatness.
  17. 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.
  18. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  19. By any standards, this would be an outstanding film, but for a debut it is remarkable.
  20. Funny, oddly affecting and cherishably personal.
  21. This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.
  22. The film, based on a short story by David Constantine, is composed with rigour and exactitude and performed with a repressed, heartfelt passion.
  23. It is an intriguing confection of a movie, announcing its influences candidly, but exerting its originality too.
  24. It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
  25. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  26. That adjective in the title is accurate. Extravagantly deranged, ear-splittingly cacophonous, and entirely over the top, George Miller has revived his Mad Max punk-western franchise as a bizarre convoy chase action-thriller in the post-apocalyptic desert.
    • 89 Metascore
    • 80 Critic Score
    Slightly overlong and convoluted at times, it presents compelling, sexy characters spouting sharp, believable dialogue.
  27. It hasn’t anything as genuinely emotionally devastating as Up, or the subtlety and inspired subversion of Monsters Inc. and the Toy Stories which it certainly resembles at various stages. But it is certainly a terrifically likeable, ebullient and seductive piece of entertainment, taken at full-throttle.

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