The Guardian's Scores

For 1,143 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Nothing But a Man (1964)
Lowest review score: 20 Solace
Score distribution:
1143 movie reviews
  1. What an astonishing achievement; what a beautiful movie.
  2. Stark, visceral and unrelenting, 12 Years a Slave is not just a great film but a necessary one.
  3. The film thrums with an ongoing existential dread. And yet, tellingly, Cuaron's film contains a top-note of compassion that strays at times towards outright sentimentality.
  4. It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.
    • 95 Metascore
    • 100 Critic Score
    Telling a nearly three-hour story with an ending everyone knows, Bigelow and Boal have managed to craft one of the most intense and intellectually challenging films of the year.
  5. Before Midnight is intimate and intelligent, and also undemanding in the best possible way,
  6. It could be the finest hour for both of its lead actors.
  7. What a glorious film this is, richly and immediately enjoyable, hitting its satisfying stride straight away. It's funny and visually immaculate; it combines domestic intimacy with an epic sweep and has a lyrical, mysterious quality that perfumes every scene, whether tragic or comic.
  8. It hasn’t anything as genuinely emotionally devastating as Up, or the subtlety and inspired subversion of Monsters Inc. and the Toy Stories which it certainly resembles at various stages. But it is certainly a terrifically likeable, ebullient and seductive piece of entertainment, taken at full-throttle.
  9. The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.
  10. It is a brilliant, subversive account of class relations and the changing times.
  11. Spotlight never hits the heights of passion, but capably and decently tells an important story.
    • 93 Metascore
    • 80 Critic Score
    Peedom and her team responded to disaster with a steady hand, in more than one sense, and fulfilled a rare opportunity to make a responsive documentary that is large, beautiful, captivating and exhibits deep respect for the people and environments it photographs.
  12. The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
  13. Brilliantly written, terrifically acted, superbly designed and shot; it's a sweet, sad, funny picture about the lost world of folk music which effortlessly immerses us in the period.
  14. Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
  15. Leviathan is acted and directed with unflinching ambition, moving with deliberative slowness and periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures.
  16. The Look of Silence — like The Act of Killing — is arresting and important film-making.
  17. Manchester-by-the-Sea is a study of family dysfunction and the worse loss imaginable, but one held back by the fact it’s all filtered through Affleck’s withdrawn lead.
  18. Sachs’ approach is so humane, and his characters so fully rendered, that an agenda never announces itself; instead, Sachs’ worldview seeps into you. He’s that skilled a film-maker.
  19. It’s a shocking and compelling piece of work.
  20. Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative.
  21. Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
  22. It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  23. Ida
    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.
  24. This movie may be too slow and verbose to be the next breakout horror hit, but its focus on themes over plot is what elevates it to something near greatness.
  25. Her
    I wished I liked it more. It is engagingly self-aware and excruciatingly self-conscious, wearing its hipness on its sleeve; it's ingenious and yet remarkably contrived. The film seems very new, but the sentimental ending is as old as the hills. There are some great moments.
  26. An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  27. Funny, oddly affecting and cherishably personal.
  28. This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.

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