The Guardian's Scores

For 1,548 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 Nocturnal Animals
Lowest review score: 20 Café de Flore
Score distribution:
1548 movie reviews
  1. This is highly competent catnip for the watercooler crowd.
  2. Meet the Blacks is an asinine film (though with a kernel of seriousness) but whenever it feels like it is running out of steam, something strange and surreal will happen to elevate it above a typical spoof movie.
  3. It's as if the film-makers felt they couldn't deliver the didactic lesson unless they wrapped this up in pulpy, thriller trappings.
  4. Despite its setting and Korean American cast, Spa Night unfurls in a largely expected manner, with David struggling to embrace his identity because of his strict religious upbringing, while trying to make his family proud. He’s portrayed so opaquely that’s it’s difficult to connect with his dilemma.
  5. What I like about Among the Believers, a portrait of radical Islam in Pakistan, is how the first two-thirds of the movie strives to remain as balanced as possible.
  6. Kawase's film is sometimes beautiful and moving but I couldn't help occasionally finding it a little contrived and self-conscious.
  7. The mystery and beauty of bees emerge strongly enough. But should we be seriously concerned, or not?
  8. Yellow Birds goes heavy on the brooding, and even though a lot of it looks gorgeous and carries the whiff of great importance it is ultimately stunted by a central event that isn’t worth the mystery that surrounds it.
  9. Here is a film with its heart in the right place, an anatomical correctness coexisting with heartfelt, forthright conviction and an admirable belief in the virtue of simplicity and underplaying.... But this restraint sometimes sags into a kind of absence, and means the film itself is a bit rhetorically underpowered.
  10. The movie’s operatic claustrophobia makes its mark. Cult status beckons.
  11. It may be no more than the sum of its parts, and the slightly soap-operatic finale doesn’t entirely distract your attention from untied plot threads, but there is some great fancy footwork in the narrative and fierce satirical strokes that recall Tom Wolfe.
  12. This Faust is part bad dream, part music-less opera: sometimes muted and numb, though with hallucinatory flashes of fear.
  13. Amusingly tacky and offensive though it is, proceedings grow a bit monotonous, because all the tunes have pretty much the same beat and everything is pitched at the same hysterical, OTT level.
  14. There’s more to this movie than sweeping music and celebrating in slow motion. It all stems from Costner’s remarkable, taciturn performance as Coach White.
  15. It runs out of steam in the final 10 minutes, but there's some gruesome drama and Cusack is on decent form.
  16. Sightseers is funny and well made, but Wheatley could be suffering from difficult third album syndrome: this is not as mysterious and interesting as Kill List.
  17. Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with.
  18. A fun, disposable watch.
  19. It doesn’t make sense as a comedy, it doesn’t quite work as a drama, and it doesn’t follow the typical roadmap of a biopic, but Rules Don’t Apply is strangely compelling nonetheless.
    • 84 Metascore
    • 60 Critic Score
    Over the past decade, director Takashi Miike has churned out gleefully extreme films Audition, Ichi the Killer and Visitor Q, but it's difficult to detect much subversion in this sober, classical effort
  20. 42
    Boseman hits his key scenes out of the park, making a swell couple with Shame's Nicole Beharie, while Helgeland stages Robinson's signature base-stealing with undeniable aplomb.
  21. I’d be lying if I said this movie didn’t crack me up on more than a few occasions.
  22. Brady Corbet is excellent as thoroughly unlikable Simon.
  23. Moore doesn’t want to tear Trump down so much as he wants to build Clinton up, and however much of a dingus he may be (some of his jokes really don’t work), he is sincere in his optimism and empathy. That’s something that you just can’t fake.
  24. The director's background in online shorts manifests itself in an occasional, montage-heavy scattiness, and the broadly conventional closing act can't quite maintain the laugh rate, but there's a lot of warm-hearted and commendably daft business along the way.
  25. If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.
  26. It has plenty of energy and drive, and Jeremy Renner is really good, better as a Bourne-y agent than Matt Damon, tougher and more grizzled-looking, more convincing as the professional soldier who has grown careworn and disillusioned in the public service.
  27. Headland has comic smarts enough to venture both filthily revisionist readings of My So-Called Life and riffs on the Potsdam conference, while refusing her audience any comforting safety nets.
  28. The movie is intensely acted, with a sense of interior longing possibly inspired by Terrence Malick, but it is also sometimes contrived and straining self-consciously for dramatic mood and moment.
  29. It is a strange, clenched movie: weirdly compelling, with an undertone of absurdity worthy of Woody Allen’s Love and Death.

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