The Guardian's Scores

For 1,407 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Weiner
Lowest review score: 20 Interior. Leather Bar.
Score distribution:
1407 movie reviews
  1. 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.
  2. Someday, all US cinema may come to look like this: indifferently shot random events happening to semi-recognisable TV faces.
  3. [A] lazy affair that aims for inspired lunacy but misses the mark by a mile.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. Clinton, Inc.’s director, Bill Baber, can’t even slander a dead woman without coming off like an idiot.
  10. Crispian Mills's London-based horror-comedy is so spectacularly bungled that it leaves the viewer in a state of advanced petrification.
  11. 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.
  12. Young kids will find the second, more action-heavy half of the film entertaining, but everyone else will want to crawl into their shell.
  13. It's leaden, boorish and dull.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
  21. Mr Right is Grosse Pointe Blank meets Dexter. Liman meets Tarantino. Derivative idea meets sloppy execution.
  22. 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.
  23. 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.
  24. This romp is just embarrassing.
  25. Romcom fans deserve something with more heart.
  26. 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.
  27. Ban this sick filth.
  28. The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
  29. 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.

Top Trailers