The Guardian's Scores

For 1,073 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Night Will Fall
Lowest review score: 20 Blended
Score distribution:
1,073 movie reviews
  1. Howe’s film is drenched in empathy, where violent actions aren’t exactly excused, but at least framed with understanding.
  2. About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.
  3. The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.
  4. The film is quiet, understated and gentle, allowing the audience to take pleasure in teasing out its narrative subtleties, and presented with wonderful freshness and clarity.
  5. 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.
  6. It is such a strange film in its way, stranger still if you are not accustomed to Weerasethakul’s work, and it needs a real investment of attention. But there is something sublime in it.
  7. Follow the film-maker. Let him lead you by the nose. Lanthimos knows exactly where he's going.
  8. A terrifically enjoyable and exciting summer spectacular: savvy, funny, ridiculous in just the right way, with some smart imaginative twists.
  9. Calin Peter Netzer's Child's Pose is a gripping new drama from Romania and another demonstration of how that country's new wave is developing a distinctive kind of real-time slice-of-life cinema with characterisation in extreme, pitiless closeup.
  10. Director Steven Riley’s film is a fascinating collage which profoundly probes its subject’s psyche.
  11. White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.
  12. Gloria is a sad, painful romantic story.
  13. Its main focus is the sparky, shifting relationship between its two protagonists and its trump card the startling chemistry between its two main stars.
  14. A gripping documentary.
  15. Beasts of the Southern Wild is a vividly poetic and maybe even therapeutic response to one of the most painful and mortifying episodes in modern American history, second only to 9/11.
    • 83 Metascore
    • 80 Critic Score
    Alternately rueful and whimsical documentary.
  16. Despite the presence of grandfatherly Michael Caine, Kingsman’s tone is about as far from the Christopher Nolan-style superhero film as you can get. Verisimilitude is frequently traded in for a rich laugh. The action scenes delight with shock humour.
  17. Mia Madre is a tremendously smart and enjoyable movie.
  18. An unexpected joy.
  19. Saulnier’s ability to take a well-trodden road and fill it with grisly surprises is quite something.
  20. People are unlikely to charge out of the cinema with quite the same level of glee as they did in 2009; but this is certainly an astute, exhilarating concoction.
  21. The robust acting and sharp sense of the Bay Area milieu glides us nicely over the film's few soft patches.
  22. The soundtrack's ironic bent might dissuade older viewers (Simple Minds are venerated), but they'd be missing out on one of the best musical comedies since A Mighty Wind. The song's the same, but Pitch Perfect is a great cover version.
  23. The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.
  24. Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.
  25. The casefile remains open, but this considered investigation matches the Panthers' bravura with an organisational flair of its own.
  26. We call our House of Commons proceedings Punch and Judy: but the climate-change deniers on Fox News are Punch on steroids. It's a chilling and depressing picture.
  27. Folky music and Studio Ghibli-level flights of eerie fancy are obvious pleasures, but even more subtle and entrancing is the way Moore and his team use echoed shapes to suggest hidden patterns in nature and parallels between the real and the mythical.
  28. Black's performance is a revelation: foregoing his usual repertoire of jiggling, tics and head-waggling craziness, Black ensures Tiede is a satirical creation of considerable substance. Really impressive.
  29. It's the successul synthesis of the two – action and emotion – that means this Spider-Man is as enjoyable as it is impressive: Webb's control of mood and texture is near faultless as his film switches from teenage sulks to exhilarating airborne pyrotechnics.

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