The Guardian's Scores

For 3,224 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 12 Years a Slave
Lowest review score: 20 Taken 3
Score distribution:
3224 movie reviews
  1. This is paddling-pool-level entertainment.
    • The Guardian
  2. The cumulative effect is like strolling through a Reykjavik gallery where each painting moves within its well-chosen frame.
  3. There’s something exciting about a film that immerses you in the life of a creative artist, and so it proves with this documentary about Howard Ashman.
  4. It’s not clear if it’s funny or tragic, if it’s reality TV or reality itself. But Boys State is as exciting and moving as Steve James’s high school basketball epic Hoop Dreams was a generation ago, with its emotional rawness, its guileless patriotism and capacity for hurt and wonder.
  5. Host is a lean, nasty little exercise that might not linger for very long but it shows what can be done during this difficult time. Once regular shooting resumes, we should look forward to whatever Savage comes up with next.
  6. It’s powerfully and pugnaciously acted, and horses are brought in – as animals often are in social-realist movies – as symbols of redemptive nobility. But I felt that in narrative terms it turned into a cul-de-sac of macho violence.
    • 84 Metascore
    • 80 Critic Score
    It is compelling in every sense and takes you on a moving journey: not only through the story of The Lion King, but through a small portion of the beautiful cultures and traditions that exist within black communities globally.
  7. It plays like several plots, genres and mood boards all mashed together, which makes the end result interesting but not entirely successful.
  8. It’s mostly kind of tolerable in a low stakes, rosé-wine-swigging way, inoffensively middling rather than rotten, an easy, undemanding afternoon watch with nothing of note other than a few laughably dumb moments..
  9. This is a film with a hopeful message about people, and their ability and willingness to learn – and to get along.
  10. Last and First Men is an interesting if minor work, perhaps comparable to Nikolaus Geyrhalter’s Homo Sapiens or Michael Madsen’s Into Eternity.
  11. It’s a clever and expertly made movie; Oakley luxuriates in its winter chill.
  12. Strong on lush cinematography, period knitwear and sincerity, but less effective in terms of historical plausibility, the mostly second world war-set drama Summerland is a mixed bag – a blend of fizzy sherbet lemons and humbug.
  13. This effort is similarly infuriating and entertaining by turns, and features pretty good performances from a handful of up-and-coming young male actors, including Brenton Thwaites and Kyle Gallner, along with lovable old ham Billy Zane putting in a last-act cameo.
  14. There are no left turns or bumps along the way, just a smooth straightforward journey from cliche to cliche, boredom setting in fast.
  15. It’s an intimate portrait that at times borders on meandering but it remains free of judgment throughout, with Einhorn and Davis using their background as journalists to let the story happen without coercion or commentary.
  16. Amstell creates a detailed ecosystem of in-jokes from the worlds of media and film, and from that cynical context he conjures a miraculously heartfelt love story, sweet and poignant in all its awkwardness.
  17. The stranger-than-fiction weirdness and emotional dysfunction are what’s interesting here, and the film doesn’t quite take the lid off it.
  18. This bizarre and sometimes scary film from Iceland has a way of keeping you off balance and on the edge of your seat.
  19. Not much about this film is original, but the buddy-pairing of two equally competent criminals is something we haven’t seen too often.
  20. For all its rough edges, there’s a pure-hearted passion for movie-making evident here, that’s often awol in slicker productions.
  21. This documentary is a bit reticent on the subject of racism. It’s not a subject that Trejo addresses, other than to say that cops who used to pull him over now do so to get selfies. Yet it’s an amazing true-life success story.
  22. Fundamental to Relic’s psychological oomph are three excellent performances, perfectly complementing that sticky-icky ambience.
  23. A very absorbing and valuable documentary about the creation of this artwork, which relates to Ai’s honourable record of using art as memorialist-activism.
  24. It’s a goofy, drunken scrap of escapism and while the romantic comedy is not fully back, despite think pieces assuring us that it is, Palm Springs energetically reminds us, yet again, that it’s never really going away.
  25. Like the structure at its centre, Spaceship Earth is a smart concept that never really takes off.
  26. It sleepily hits the beats we expect but without the emotion or passion required to make them land, a by-the-numbers exercise from someone with barely enough energy to count.
  27. As well as death and tragedy, war is full of absurdity, indignity, chaos, all sorts of bizarre and embarrassing things that don’t get mentioned in the official record. Greyhound is content with its keynote of sombre reverence.
  28. The adjective in the title is right. It gets old pretty quickly.
  29. This is a fan-servicing but not necessarily hagiographic documentary.

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