The Guardian's Scores

For 1,550 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Life, Animated
Lowest review score: 20 Jimmy P.
Score distribution:
1550 movie reviews
  1. McCullin emerges as an unsentimental, plain-speaking, thoughtful man, disgusted at the inhumanity of war – and yet candid about how he is also personally and professionally drawn to its drama.
  2. It is Davies’ ability to invest even the most apparently-humdrum moments with some form of intense radiance that sustains his film.
  3. The pure work-in-progress energy of all this is exhilarating, and if the resulting movie is flawed in its final act, then this is a flaw born of Jia’s heroic refusal to be content making the same sort of movie, and his insistence on trying to do something new with cinema and with storytelling.
  4. If ever a movie came from the heart, it was Giuseppe Tornatore's nostalgic Cinema Paradiso (1988) now getting a rerelease to celebrate its silver jubilee.
  5. With its pale, washed-out colour palette, its eerily slow, almost somnambulist pacing and occasionally bizarre emotional demonstrations, Post Mortem is strangely gripping.
  6. Xavier Dolan’s It’s Only the End of the World is histrionic and claustrophobic: deliberately oppressive and pretty well pop-eyed in its madness – and yet a brilliant, stylised and hallucinatory evocation of family dysfunction.
  7. It is all intensely controlled, although this is a drama that goes by the book, in all senses; there are no unabsorbed events to disorder the parable’s secular/religious alignment, and the Greeneian miracle it eventually conjures is arguably a little too pat. Yet it is also strangely moving.
  8. Kazan brings to the role a sweet and dignified vulnerability, keeping rigorously to plausible human behaviour.
  9. Richness, warmth and tenderness pulse from this lovely documentary.
  10. The heart of the movie is the unexpectedly poignant relationship between Xavier and Logan: I’d be tempted to call them the Steptoe and Son of the mutant world, although in fact Logan goes into Basil Fawlty mode at one stage with his own pickup truck, attempting to trash it – perhaps to teach it a lesson. Logan is a forthright, muscular movie which preserves the X-Men’s strange, exotic idealism.
  11. Hansen-Løve has an acute eye for the details of Paul’s world. Glamour is twinned with mundanity, beauty with boorishness and friendship with selfishness, while artistic endeavour is undercut by self-indulgence.
  12. The Wolf of Wall Street, for all its abundant appeal, is no Greek tragedy. It lacks the wildness of Taxi Driver, the jeopardy of GoodFellas and the anguish of Raging Bull. Far better to view this as a stylistic homage, a remastered greatest hits compilation, an amiable bit of self-infringement.
  13. Australian director Cate Shortland's drama is overflowing with such poetic visual touches, conjuring up a fairytale landscape of long shadows, wafting curtains and waving fronds.
  14. A very valuable film.
  15. Like Reichardt’s directorial hand, the performances are understated across the board, but deeply felt.
  16. Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.
  17. Lars von Trier's Nymphomaniac bludgeons the body and tenderises the soul. It is perplexing, preposterous and utterly fascinating.
  18. In between songs there's a movie within a movie as Dane DeHaan silently takes on the forces of anarchy on behalf of the band. Awesome.
  19. A toxic cloud of anger, suspicion and sadness hangs over this documentary.
  20. Macdonald grants us insight into the process and, as expected, it’s hardly as haphazard as sceptics might think.
  21. The acting isn't perfect (which is perhaps understandable under the circumstances), and the film's dream states sometimes try too hard, but Escape From Tomorrow has an otherworldly atmosphere that both hooks and engages.
  22. It is such a beguiling performance from Richard, natural, unaffected, unselfconscious, you find herself rooting for Ana, although what form success might take for her is a mystery. Very impressive work from Lang.
  23. It’s a richly detailed character study, immersing the audience in the life and mind of its imperious main character.
  24. Buckle up; it's quite a ride.
    • 80 Metascore
    • 80 Critic Score
    Never has grotesque wealth looked so unenviable, or its removal been so entertaining, as in this garishly watchable riches-to-rags documentary.
  25. '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.
  26. This is an effortlessly excellent film, about a horribly hard subject.
  27. Webb's film is bold and bright and possesses charm in abundance. It swings into the future and carries the audience with it.
  28. Some critics have expressed reservations about melodrama and overworked symbolism, but I found it gripping, with an edge of delirium.
  29. Eye in the Sky aims to thrill and covertly manages to inform simultaneously.

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