The Guardian's Scores

For 1,718 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Night Will Fall
Lowest review score: 20 Lolo
Score distribution:
1718 movie reviews
  1. 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.
  2. 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.
  3. It is a strange, clenched movie: weirdly compelling, with an undertone of absurdity worthy of Woody Allen’s Love and Death.
    • 59 Metascore
    • 60 Critic Score
    The script unsettles, but never scares, so it doesn't work as a horror film. It's also not a convincing chronicle of deteriorating mental illness.
    • 76 Metascore
    • 60 Critic Score
    The movie practically satirises itself as it goes along, glossing over its own absurdity in the process.
    • 59 Metascore
    • 60 Critic Score
    Fantasy invigorates reality in this fond retrospective of the director who embodied the renegade heart of 70s Hollywood.
  4. It is a study of grief suppressed and a personality becalmed.
  5. It's a professional old-school espionage outing, intricate as clockwork and acted with relish by the ever-watchable Hoffman. But it remains an oddly anonymous enterprise from this talented and distinctive director.
  6. The Sessions can be sugary, but it's likable.
  7. Nothing in the movie matches the fascination of its premise and its opening 10 minutes: the undisturbed status quo is mesmeric. Once the narrative grinds into gear, however, the film's distinctive quality is lost.
  8. It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.
  9. It's nowhere near as good as many of the films it so wants to be positioned next to, but it's nasty enough to leave an impression.
  10. Joy
    David O Russell’s Joy is an intriguing but weirdly subdued and stylised film.
  11. What’s key is that even though this is a movie about a scoundrel, it’s all very optimistic. Forbes and Wolodarsky keep the frame bright and the filmmaking calls attention to itself only when necessary.
  12. A gentle, thoughtful and reflective movie.
    • 52 Metascore
    • 60 Critic Score
    What stands out is the animation. The microcosmic woodland world is luminous and detailed, and there's a nice disconnect of scale whereby humans appear as lumbering, slow-motion giants.
  13. For all its absurdity and the family friendly bloodlessness (despite the copious violence), it spins along very smoothly and efficiently.
  14. It's a bit sucrose, especially at the beginning, but this traditional, sweet-natured family film will tug on the heartstrings.
  15. Some of the movie doesn't exactly convince, and some of the scenes have an actors-improv feel to them, but there's always plenty of humour and energy.
  16. Even as All I See Is You descends into soapy nonsense, it remains visually engaging.
  17. A wide-eyed tribute to human ingenuity that packs enough snark to pull itself out of the black hole of earnestness, even if its fuel runs out partway through.
  18. Hang on for the outtake bloopers over the credits and you'll see Aniston momentarily unsure how to take a joke at her expense.
    • 48 Metascore
    • 60 Critic Score
    There's plenty that's good here: a serious tone, steady ­pacing, muddy and bloody scenery and a convincing turn by Purefoy in his own west country accent. But Kane is an ill fit into the ­origins tale template; it's a story with few ­surprises.
  19. The script could have done without the odd bout of heavy-handed chess symbolism (“a king for a king”) but it’s a solidly entertaining drama with an intriguingly unconventional lead.
  20. For all the guns and gore, it's as breezy and uncritical as a tale from the True Detective magazine that the cops can't help reading.
  21. It's all watchable and pretty funny, and the big setpiece is the three wildly queeny stewards Joserra, Fajas (Carlos Areces) and Ulloa (Arévalo) going into a drug-fuelled song-and-dance routine: a rendering of the Pointer Sisters' I'm So Excited.
  22. With a sly dreaminess, Vikander steals the movie from the two males.
  23. For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been.
  24. The spectacle of highly competent professionals going about their work is always absorbing, and Simons is an interesting man: reticent, calm, shy, intensely focused but apparently never losing control until the end.
  25. With playful touches of Spielberg, Shyamalan and even Hitchcock, veteran director Joe Dante has confected a neat little scary movie, not explicitly violent, but pretty scary nonetheless.

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