The Guardian's Scores

For 4,417 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Death of Mr. Lazarescu
Lowest review score: 20 Killers Anonymous
Score distribution:
4417 movie reviews
  1. We
    It’s a film which needs an investment of attention, but there is a great observational intelligence and sympathy at work.
  2. While occasionally emphasising that film-making is a collaborative endeavour, this is a cliche-ridden affair, reiterating the myth of the genius director whose pursuit of perfection is worth the detrimental effects it has on the cast, the crew and even the film-maker himself.
  3. Nothing is really offensive or incompetent, but it never rises to the level of funny or interesting, either.
  4. Although the character of Gru is mildly funny, the minions are unfunny without him and have never convincingly attained spin-off hero status. This is another of those intellectual property concepts whose trademarked quirky voices and characters should be laid to rest.
  5. While refreshingly centring a British Asian protagonist, Khan’s film is hopelessly bogged down by a thin plot and cliched dialogues.
  6. The Sea Beast gets the balance just right between rollicking action scenes, the inevitable didactic anti-hunting message about respecting other species’ right to exist and family-friendly humour.
    • 69 Metascore
    • 60 Critic Score
    Thankfully, the time away hasn’t diminished the smart-dumb comedic value of their personas; watching this latest revival, fans will probably match them chuckle for chuckle. A better sequel, though, might have found more meaningful tension between these timelessly dumb kids and the ongoing dumbing down of the America they’ve been thrust into. Heh heh, we said thrust.
  7. The film clunks on, acted with no flair or charisma by anyone in the cast and no energy or interest in the direction. A Rodriguez or a Tarantino – or, indeed, a Schrader – might have found something in the film’s episodic structure and its gallery of grotesques, but, as it is, this is just leaden.
  8. Belli’s supple direction – reminiscent of Edgar Wright’s pop’n’snap – keeps its energy levels high as it roves around the living room that is its main location; it also exults in the occasional set-piece, such as the players’ Jazzercise routine. There aren’t quite enough of these zany segues, but with a larger budget, you can smell the franchise potential here.
  9. The film conforms to the coming-of-age template in that romance is followed or superseded by friendship and maturing personal growth. Urzendowsky keeps it all together.
  10. When the wisps of khat smoke clear away, it is perhaps not easy to decide exactly what is left behind, or to decide if khat is a cultural practice to be celebrated or rejected: but there are some marvellous images and moods in this misty, impressionistic study.
  11. Kokkali persuasively enacts both the emotional hurt and emotional healing.
  12. There are some very funny scenes and a reasonably tense shootout finale – though the sentimental ending felt to me like a bit of a cop-out.
  13. There’s a whiff of the plane movie emanating from ho-hum Paramount+ comedy Jerry and Marge Go Large, an acceptable half-awake diversion when one has run out of other, better options in the sky but something that’s a little harder to justify on the ground.
  14. There’s nothing particularly remarkable about Father of the Bride 2022 (was there ever really going to be?) but it’s a far better, and smoother, film than one would expect from the outset, a streaming premiere made with such confidence that it surely deserved a big-screen run.
  15. At a young age, Raiff still remains an exciting up-and-coming film-maker of note and even in his sophomoric slump, there’s enough, coupled with his standout debut, to suggest that better things will come. Hopefully better titles too.
  16. Pleasure doesn’t take a doomily disapproving line on porn, and real pornstars and agents are given cameos. Yet neither is it necessarily celebratory or porn-positive. The people in charge are overwhelmingly male and Thyberg shows how the power relations in the business are really the same as they ever were.
  17. This is undoubtedly a work of historic significance, made by a master in his field – but beware that it often feels like a film-making notebook, full of doodles and ideas but not especially cohesive as a story.
  18. The film just bounces along, zipping through its running time.
  19. A nice, creepy performance from Hemsworth, with Teller gamely going along with the script, but having stretched out the story idea to feature-film length, the film doesn’t really give the sense that it knows where it is going.
    • 80 Metascore
    • 100 Critic Score
    In the pantheon of invented languages, there have been many of studied, intricate beauty: Elvish, Klingon, Na’vi. Nude Tuesday’s language is not one of them. It is lewd and crude, landing somewhere between a bad ABBA impression and backpackers at Oktoberfest. It’s as though an alien learnt Swedish entirely through Ikea’s most misjudged product names – and it is utterly delightful.
  20. The film has charm as well as a certain deja vu for audiences, although for me it didn’t quite have the distinction of Marnie.
  21. It’s acted with such terrific panache that not enjoying it is impossible.
  22. A dead-eyed Chris Pratt presides over this convoluted mess of Bond-style villains and toothless action that even the original cast can’t save from extinction.
  23. Like Werner Herzog, Kier’s German accent lends a deadpan drollery to everything he says, but there is a gooey soft-centre to his film, and Kier carries that off reasonably well, his face becoming almost boyish. Another intriguing persona in the Udo Kier gallery.
  24. This struck me as that kind of comedy horror in which (like much romantic comedy) the “comedy” half of the equation has gone missing.
  25. Hepburn is in the boho-gamine mode, and this has a brittle charm, (arguably more than in Breakfast At Tiffany's four years later) but there is something unconvincing in the May-to-December pairing of 28-year-old Hepburn and 58-year-old Astaire and also something grumpy and not particularly classy about the way this film shrieks with laughter at silly modern women filling their empty heads with trendy Parisian intellectualism.
  26. Tradition of course demands that the pert teen sacrifices in such gore fodder be satisfyingly dislikable. It isn’t easy, though, to make stupidity interesting, and Shark Bait is always one-note in its exploitation of its characters.
  27. A valuable if slightly passionless and reticent movie.
  28. Nine Bullets is unfocused to the point where you might want to scream with frustration.

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