The Guardian's Scores

For 1,311 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 SPECTRE
Lowest review score: 20 Cirque du Soleil: Worlds Away
Score distribution:
1311 movie reviews
  1. 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.
  2. The Force Awakens is ridiculous and melodramatic and sentimental of course, but exciting and brimming with energy and its own kind of generosity. What a Christmas present.
  3. Putting aside the worthiness of its politics, this is also a crackling, tense thriller, graced with beautifully measured performances, that explores with wisdom and sorrow the best and worst in human nature.
  4. This is an unrepentantly cynical take on the hope-and-change promised to the US in 2008; this year's election race makes it look even bleaker, an icily confident black comedy of continued disillusion.
  5. The Double isn't an original idea. It wasn't even in Dostoyevsky's time. But it's a great story. And Ayoade has produced a brilliant copy.
  6. A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers.
  7. Sachs’ approach is so humane, and his characters so fully rendered, that an agenda never announces itself; instead, Sachs’ worldview seeps into you. He’s that skilled a film-maker.
  8. What a bold, beguiling and utterly unclassifiable director Andersson is. He thinks life is a comedy and feels it’s a tragedy, and is able to wrestle these conflicting impulses into a gorgeous, deadpan deadlock.
  9. It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  10. It is a gripping film: horrible, scary and desperately sad.
  11. Bridge of Spies has a brassy and justified confidence in its own narrative flair.
  12. Not since Grey Gardens has a film invited us into such a strange, barely-functioning home and allowed us to gawk without reservation. This is a nosy movie, but it is altogether fascinating.
  13. Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.
  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. This documentary by Mike Lerner and Maxim Pozdorovkin argues that Pussy Riot suffered an old-fashioned Soviet show trial, and what emerges is the effrontery and hypocrisy of Putin's attempt to associate these three young women with the Bolsheviks' suppression of religion.
  16. What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.
  17. Julian Roman Pölsler's bewitching debut manages to be at once a creepy sci-fi parable, a feminist Robinson Crusoe and a clear-eyed ode to the wonders of nature experienced in solitude. Walden pond with added wall.
  18. This movie is foremost an ethnographic exercise, and whether it is a rallying cry or poverty porn is for the viewer to decide.
  19. Danish director Tobias Lindholm spins an exacting drama out of a crisis on this deft, verite-style account of Somali piracy in the Indian ocean. Full credit to A Hijacking for resisting the siren-call of Hollywood histrionics in favour of the nuts-and-bolts.
  20. This is a ferociously well-made film right through to the bitter end.
    • 74 Metascore
    • 80 Critic Score
    Gracia succeeds brilliantly in delivering a chilling warning about where Putin and his spooks might go next, by giving Fedor full licence to act the biblical prophet.
  21. Devotees of Dumont's earlier films – particularly his 1999 film "Humanity" – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
  22. But Whedon's key coup is in simply directing a very good version of the play. He's got a keen ear for comedy, a no-nonsense approach to ditching the gags that don't work, a deft hand for slapstick and an eagerness to use it.
  23. 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.
    • 79 Metascore
    • 80 Critic Score
    Just as 2011's Rise of the Planet of the Apes surpassed expectations, so this sequel delivers on its promise and leaves us wanting more – which we'll almost certainly get.
  24. It’s terrifically watchable, a high-octane automobile of a film with dodgy steering, but exciting in a world of dull and prissy hybrids.
  25. The genius of Alpha Papa, then, is in remaining faithful to Partridge's small-screen soul while also managing the demands of a big-screen Alan.
  26. While the subject matter is enraging, the film is not without warmth and occasional levity.
  27. It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  28. Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.

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