The Guardian's Scores

For 1,549 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 Victoria
Lowest review score: 20 Deliver Us From Evil
Score distribution:
1549 movie reviews
    • 42 Metascore
    • 30 Critic Score
    This is not a very good effort, seeming tired without being emotional. It looks like the end of the line...Superman III never flies as it should, or only does momentarily. [31 July 1983, p.21]
    • The Guardian
  1. Poor Princess Diana. I hesitate to use the term "car crash cinema". But the awful truth is that, 16 years after that terrible day in 1997, she has died another awful death.
  2. It’s rare to see a film quite so lacking in animus. It exists only to gouge money out of gamers. They might well want to stick to the game.
  3. This has to be the year's most pointless remake: a boring and badly acted reboot of John Milius's gung-ho red-scare actioner from 1984.
  4. Joyless and tedious, a reboot quite without the first film’s audacity and fun... It’s a movie that is going through the intergalactic motions.
  5. The inept script... makes for a perfect bedfellow with Egoyan’s flat TV movie direction and an overwrought score that sounds like a drunk impression of Bernard Herrmann.
  6. Every single decision made by Hill is bad.
  7. After the unnatural way it plops this gruesome group in their social Siberia, it goes from (alleged) comedy to serious drama with all the subtlety of a 10-year-old playing Mario Kart.
  8. The first act of the film wins some laughs on surrealist shock humour, but at the expense of ever accepting this character and her world as real.
  9. If there was just one extended sequence that crackled with originality you could at least say it has its moments, but, truly, there’s nothing besides repeated use of swear words in lieu of wit.
  10. This film is making a wheezing, spluttering sound: the sound of a profitable YA franchise running out of steam.
    • 30 Metascore
    • 20 Critic Score
    This is less a caper than a trudge; a linear adventure that proceeds in fits and starts, with few surprises and fewer laughs. There's barely even a hangover.
  11. Director Niels Arden Orpev was in charge of the original "Girl with the Dragon Tattoo," starring Rapace, but fails to create a revenge thriller with anything like the same focus.
  12. It’s a test of one’s tolerance for watching predominantly empty frames – the anonymous performers scarcely count – in the hope something will jolt us from mounting tedium.
  13. There can hardly be a bigger waste of time than this piece of twee nonsense.
    • 33 Metascore
    • 20 Critic Score
    This is film-making at its most cynical. But none of it actually makes much sense.
  14. Sadly, Savages plays up to Stone's worst tendencies: machismo, bombast and self-indulgence, and the factor that could conceivably have made this movie tolerable – humour – is off the menu.
  15. For all its apparent sombreness and thoughtfulness, The Sea Of Trees is an exasperatingly shallow film on an important and agonisingly painful subject - depression and suicide. This it slathers in palliative sentimentality.
  16. It is a film so awe-inspiringly wooden that it is basically a fire-risk. The cringe-factor is ionospherically high.
  17. A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.
  18. It’s difficult to know what subtitle to give this. Taken 3: Not Again, or Taken 3: Seriously? or Taken 3: This Is Getting a Bit Much Frankly.
    • 51 Metascore
    • 20 Critic Score
    A tedious, misjudged marriage of Olympic opening ceremony, Eurovision half-time show and most recorded nightmares, Worlds Away is set in a mysterious land of make-believe.
  19. This is television-level moviemaking top to bottom, from its preposterous premise, scenery-chomping performances, idiotic sound cues and force-fed jump-scares. Deliver Us From Evil delivers formula, and in a formulaic fashion.
  20. It goes on for ever without getting properly started: an epic of depthless self-indulgence.
  21. Many of The Boss’s troubles stem from its constant, unpredictable shifts in tone.
  22. Mon Roi, directed and co-written by Maïwenn (that is, film-maker and actor Maïwenn Le Besco) is an unendurable confection of complacent and self-admiring nonsense: shallow, narcissistic, histrionic and fake.
    • 47 Metascore
    • 20 Critic Score
    Interior. Leather Bar ultimately rings hollow in its diatribe and agenda because its chief instigator refuses to open up.
  23. The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.
  24. This buttock-clenchingly embarrassing movie from director Valérie Donzelli is a pre-Revolutionary period drama from the quality end of the sugary French market – theatrically tricked out with one or two annoying and clumsy Brechtian touches of stylised self-aware modernity.
  25. As ever with a Sparks story, the action takes place in a sugary vision of small-town America that does not correspond with the real world at any point.
  26. The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
  27. This movie is a case in point. It's a film which is so demeaningly bad, so utterly without merit, that there is a kind of purity in its awfulness. There is a Zen mastery in producing a film which nullifies the concept of pleasure.
  28. Hillary’s America: The Secret History of the Democratic Party is the cinematic equivalent of a drunk man at a sports bar sucking back whole jalapeño peppers hoping for applause without ever being dared. The amusement in watching doesn’t compensate for the pity one feels for someone so desperate for attention.
  29. This tardy rehash of fairytale tropes finds sometime genre innovator M Night Shyamalan clinging in abject desperation to the found-footage movement’s careworn coattails.
  30. The two adjectives in the title should be replaced with "annoying" and "unendurably tiresome".
  31. It’s soon clear that OOTS follows the model of Bay’s Transformers sequels. Longer, louder and boasting even more hardware, it does everything to generate the illusion of bleeding-edge bang-per-buck, while cribbing shamelessly from 1991’s Secret of the Ooze.
  32. It’s a crunching disappointment: a dull, crass, formulaic and frankly misjudged chiller.
  33. A real Christmas miracle would cause every copy of this film to spontaneously burst into flames.
  34. This could be one of those rare and terrifying serial killer cases where the psychotic culprit apparently intends to bore and embarrass everyone to death with bad acting.
  35. Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.
  36. Here is a scary movie that is so hammy and so clunkingly written it will reduce your brain to the consistency of muesli mixed with diesel.
  37. Robert De Niro does further damage to a reputation much battered by "The Big Wedding."
  38. Abhorrent politics aside, it’s also a terrible movie. The dialogue is atrocious, the performances rote. One could make the case that its incoherence is a grand meta-narrative statement about the fluidity of combat, but I don’t think that’s the case.
  39. There is a creeping and depressing awfulness to this sentimental silver-years comedy.
  40. A deafening, boring action pile-up that is more Call of Duty than Robocop.
    • 24 Metascore
    • 20 Critic Score
    Levasseur understands the claustrophobia of being locked inside a stuffy pyramid with collapsing floors and sand traps. Unfortunately for him, Indiana Jones turns out to be incompatible with Alien, and the bad acting and atrocious script don’t help.
  41. A strained jeu d'ésprit which is smug, precious, carelessly constructed, emotionally negligible, and above all fantastically annoying. It's a terrible waste of real acting talent.
  42. Scenes have a habit of stopping at any second, with or without whopping soundtrack.
  43. One can always keep praying that the next of these films will be a little better.
  44. One innovation: the application of thrash metal to fight scenes, which at least hushes the shriller voice artists.
  45. Pesce asks viewers to go along with the absurdity while offering nothing to justify any of it. It’s a murder ballad gone out of tune.
  46. All the material about social media looks forced and behind the curve, and nothing about the movie is really convincing or entertaining on any level, making it valueless as drama or satire.
  47. It’s lazy on every level.
  48. A film that should feel urgent and of its time, but instead is rendered cliched and dull by Sollet’s amateurish handling of the material.
  49. Now I understand why Jesus’s childhood remains such a mystery: the story is unbelievably boring.
  50. He's done it again. M Night Shyamalan has done it again. Again. Done it. Again. He has given us another film for which the only appropriate expression is stammering, gibbering wonder that anyone can keep making such uncompromisingly terrible movies with such stamina and dedication.
  51. Director Prabhudheva’s idea of comedy is broad and very much soundtrack-led.
  52. Nothing about the film comes close to authenticity and it’s largely down to Penn’s remarkably amateurish direction.
  53. It really is a nuclear war of dullness.
  54. Masterminds is a bit of an interesting case study, as it is basically a Coen brothers film but put through a mechanism that removes all the wit, visual style or excitement. In its place are tortuously dull set-pieces, rambling dialogue and banal stagings.
  55. This fantastically muddled and exasperatingly dull quasi-update of the King Kong story looks like a zestless mashup of Jurassic Park, Apocalypse Now and a few exotic visual borrowings from Miss Saigon. It gets nowhere near the elemental power of the original King Kong or indeed Peter Jackson’s game remake; it’s something Ed Wood Jr might have made with a trillion dollars to do what he liked if he’d been given a trillion dollars – but minus the fun.
  56. It is put together with technical competence, but is entirely cliched and preposterous, and it implodes into its own fundamental narrative implausibility.
  57. It reduces a complex and extraordinary case to soap. It makes you care less, for all its heavy-breathing and cheapo coaxing.
  58. There’s a special variety of infuriating that comes from a bad movie by talented people.
  59. Remove the subtitles, and it's one of Cameron Crowe's head-in-the-clouds dramas, as scripted by M Night Shyamalan: an insultingly arbitrary reveal, preceded by vast, wailing washes of Pink Floyd and Sigur Rós. A very vanilla sky, this.
  60. Someday, all US cinema may come to look like this: indifferently shot random events happening to semi-recognisable TV faces.
  61. [A] lazy affair that aims for inspired lunacy but misses the mark by a mile.
  62. You’ve seen this movie before with peppier actors, and not tethered to a visually uninteresting set that looks like a remainder from a 10-year-old episode of CSI.
  63. This horrifyingly yucky, toxically cutesy ensemble dramedy creates a Chernobyl atmosphere of manipulative sentimentality, topped off with an ending which M Night Shyamalan might reject as too ridiculous.
  64. Even without the current headlines, United Passions is a disgrace. It’s less a movie than preposterous self-hagiography, more appropriate for Scientology or the Rev Sun Myung Moon. As cinema it is excrement. As proof of corporate insanity it is a valuable case study.
  65. Once upon a time, this wackiness had some novelty value. Now it’s tedious.
  66. The sclerotic staginess of The Dinner means this is one to miss.
  67. This film is one long biopsy of pure horror: the tumours of sentimentality and bad acting metastasise everywhere, and Bernal, in particular, is horrendously bad.
  68. As a straight procedural, this might have worked if Egoyan did not try the audience's patience and insult their intelligence with how utterly implausible his drama is. But line by line, scene by scene, it is offensively preposterous and crass.
  69. It’s a film of remarkable idiocy, most notably in the portrayal of the local police who are so incredibly unhelpful that it borders on parody.
  70. Clinton, Inc.’s director, Bill Baber, can’t even slander a dead woman without coming off like an idiot.
  71. Crispian Mills's London-based horror-comedy is so spectacularly bungled that it leaves the viewer in a state of advanced petrification.
  72. Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.
  73. Young kids will find the second, more action-heavy half of the film entertaining, but everyone else will want to crawl into their shell.
  74. It's leaden, boorish and dull.
  75. In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.
  76. God’s Not Dead 2 is a much better movie than God’s Not Dead, but that’s a bit like saying a glass of milk left on the table hasn’t curdled and is merely sour.
  77. Embarrassing for everyone involved not because of any squeamish subject matter – quite the contrary, seeing retirement-age characters are refreshing – but because the story structure is so fake and so plodding.
  78. This lifeless, by-the-numbers production is an excruciating exercise in cliche and tedium. Its sole joy is in trying to figure out which of its leads is overacting most.
  79. With much buzzing, beeping and whirring, the Terminator franchise comes to an absolute creative standstill, or even goes clankingly into reverse, with this fantastically dull fourth episode.
  80. An ingenious idea for a suspense thriller – or maybe even an old-fashioned, "Wait Until Dark"-style stage play – turns out instead to be the pretext for a crass, over-long and tiresome splatter nightmare.
  81. Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
  82. Mr Right is Grosse Pointe Blank meets Dexter. Liman meets Tarantino. Derivative idea meets sloppy execution.
  83. The corn in The Identical is as tall as an elephant’s eye – but there’s nothing that says the story of a man torn between his religious upbringing and his desire to be a musician can’t make for a good movie. In fact, considering a little movie called "The Jazz Singer," there’s ample proof that it can be groundbreaking.
  84. It proves very much un film de Sandler: so lazy you feel unconscionably guilty for snorting at the three jokes in its two hours that merit any response.
  85. As well as its plot being eerily similar to that of Demolition, it’s just as misguided.
  86. This romp is just embarrassing.
  87. Romcom fans deserve something with more heart.
  88. This is the film’s grossest crime. It’s dumb, it’s long, it’s dull, but it isn’t quite bad enough to be camp.
  89. Ban this sick filth.
  90. The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  91. There is a creepy, undead feel to this lumbering comedy set in the offices of Google, and Owen Wilson and Vince Vaughn have a distinct Baron Samedi look in their eyes.

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