The Guardian's Scores

For 1,796 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 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 SPECTRE
Lowest review score: 20 Mr. Right
Score distribution:
1796 movie reviews
  1. Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel.
  2. A riveting excursion into fear and loathing on the campaign trail.
  3. [McConaughey] delivers a twitchy, hostile performance on par with anything he's done since he escaped the rom com cul-de-sac.
  4. It’s an intriguing, disturbing, amusing twist on something which in many ways could be a conventional horror-thriller from the 1970s or 1980s, or even a bunny-boiler nightmare from the 90s.
  5. If the lads were insufferable misogynistic pricks, Everybody Wants Some!! would make for horrible viewing. Thankfully they’re all intensely lovable.
  6. So many documentaries about artists just want you to accept that their subject is an innovator. De Palma breaks it down and shows you why he is.
  7. Maddin’s zeal for old cameras and stocks is matched only by his revelry in evoking an entire genre with a single image. The film’s apogee literally opens up The Book of Climax in a sequence of pure, knowing cinematic joy. Film-lovers, this ludicrous movie is for you.
  8. Trainspotting is supercharged with sulphurous humour and brutal recklessness.
  9. The co-operation between Wenders and Salgado Jr works well, mixing the former's heavyweight presence as both interviewer and storyteller, and the latter's ability to harvest intimate, deep-buried subtleties that may otherwise not have seen the light of day. Together they have made a moving tribute to a peerless talent.
  10. '71
    It's a film that holds you in a vice-like grip throughout; only wavering towards the end with a faintly preposterous climactic shootout.
  11. 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.
  12. This movie is foremost an ethnographic exercise, and whether it is a rallying cry or poverty porn is for the viewer to decide.
  13. For all of Mills’s cinematic tricks, he’s emerging as a great realist film-maker.
    • 83 Metascore
    • 100 Critic Score
    Blessed with the fresh eyes of newly landed Englishman Yates (and genius cameraman William Fraker), the movie makes San Francisco fresh and alive, but also completely remakes and modernises the bleak, sleazy gangster demimonde in which Bullitt does his hunting.
  14. This a quasi-war movie set in peacetime; these men are fighting to the death, but not for nation or principle or ideology — or at least, not a conscious ideology: they are caught in larger economic currents.
  15. An unexpected joy.
  16. Gloria is a sad, painful romantic story.
  17. This is a fine film, which cements Barnard's growing reputation as one of Britain's best film-makers.
  18. What’s most striking about Ixcanul is the elegant way in which it is shot. Scenes are given space, and the audience is allowed ample time to soak up the atmosphere.
    • 83 Metascore
    • 80 Critic Score
    Alternately rueful and whimsical documentary.
  19. Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.
  20. While the subject matter is enraging, the film is not without warmth and occasional levity.
  21. When Abbot and Nixon start their sparring, Mond’s film takes on a magnificently physical and tactile quality.
  22. Mitchell brings off some sensational setpieces of fear and suspense. I can’t remember when I was last so royally freaked out in the cinema.
  23. It is a film of immense humanity and charm: the very best kind of date movie.
  24. It’s a haunting little film that ends with a somewhat overwhelming poignancy.
  25. A hundred well-placed plot breadcrumbs lead us to our perfect ending, but apart from scriptwriting craft Rees gets in some bravura scenes of high tension.
  26. It’s a film you have to feel your way into, like a ruined church or a haunted house.
  27. Rachel Weisz performs with enormous intelligence and restraint.
  28. What The End of the Tour tries to sell, and sells well, is that Wallace’s big heart was just not made for these times.

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