The Guardian's Scores

For 4,051 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Loveless
Lowest review score: 20 Men in Black: International
Score distribution:
4051 movie reviews
  1. It’s not exactly boring – there’s always something new to behold – but nor it is particularly exciting, and it lacks the breezy wit of Marvel’s best movies. One of the strengths of the MCU to date is how it has taken time to define each character individually and lay out the grand narratives over successive movies, building a sense of momentum. Here, it’s all thrown at us at once.
  2. It all works up to an only mildly surprising “shock” ending, which is bad news for all concerned, a twist that would be more tragic if it were possible to feel sorry for any of them.
  3. Rylance is good casting as Maurice: his delicate sing-song voice and sometimes faintly unfocused gaze fit nicely with our hero’s lovably awkward determination, as well as Flitcroft’s sense as a natural comedian that there is something more than a little absurd in the game of golf.
  4. The acting is daytime-soap standard and the tasteful, softcore sex is shot in such a way as to not look like actual sex. It’s unerotic, unsweaty and performed with expressionless faces. It feels like the film-makers know they have to do the sex bits, but don’t really want to actually do them.
  5. While a certain disarming naivety infuses the work, it nevertheless packs an evocative punch, with a moral message about intolerance and the need to protect more vulnerable species. It’s also one of the few films that could potentially induce a psychedelic trip with its visuals alone.
  6. The movie asks the audience to not look at two elephants in the room, and unfortunately, no amount of soaring music can relieve that heavy a burden.
  7. Night Teeth isn’t quite as dreadful as its truly dreadful title but it’s just as forgettable.
  8. Given the calibre of the voice cast, perhaps the biggest disappointment is how humourless the movie is.
  9. Labyrinth of Cinema is indeed labyrinthine, a maze of jokes, film references, quirky back projections, bargain-basement effects and melodramatic confrontations. But at its centre is something deeply serious: a belief that, as the sole country to have experienced a nuclear strike, Japan has a terrifying exceptionalism. This awful truth is marked by a tonal cymbal-clash, both acidly comic and desperately sad.
  10. Denis Villenueve’s slow-burn space opera fuses the arthouse and the multiplex to create an epic of otherworldly brilliance.
  11. There are moments of inspiration that light up this film like flashes of lightning.
  12. A fog of menace descends on this hauntingly photographed, oppressive and driftingly directionless movie from Lucile Hadzihalilovic. It has the intensively curated atmosphere of body-horror noir – if not the conventional plot structure – and some way into the running time you might find yourself awakened from its reverie of formless anxiety by a sudden, horrifying stab of violence.
  13. Enjoyable and well-crafted as it is, this movie can’t quite decide what to do with the tougher, darker side of Richard Williams.
  14. The supposedly important themes of immigrants and Syria are cancelled by its naive flippancy.
  15. While armed with plenty of social critique, the beauty of Balloon goes beyond this tug-of-war between modernity and tradition.
  16. Covering the Indonesian war of independence through the viewpoint of the occupier, The East is yet another pale addition to the format, rehashing empty metaphors that are barren of emotional complexity, historical poignancy or visual ingenuity.
  17. What a man. Just writing this makes me want to watch the documentary all over again.
  18. An intriguing and drily comic film.
  19. Pure evil is all around in this unnervingly subtle, sophisticated movie; an eerie oppression in the air.
  20. This is another film about a white European mixed up in a Middle Eastern war they barely seem to understand, but on its own terms it’s a story well told.
  21. An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.
  22. Part delicious satire of Hollywood culture and part frustratingly muddled thriller. But the good bits are sufficiently impressive it wouldn’t be fair to hold its flaws against it too much. We mustn’t be greedy for perfection.
  23. The movie is saturated with emotion and colour, though its novelistic depth brings with it the slightly effortful running time of two hours and 20 minutes.
  24. There’s a rich confectionery of strangeness, sadness and fear to this very absorbing film.
  25. This dense but witty film is never caught short for a flourish.
  26. Love letters to the past are always addressed to an illusion, yet this is such a seductive piece of myth-making from Branagh.
  27. Here, we can find a damning summary of modern Hollywood’s default mode – a nostalgia object, drained of personality and fitted into a dully palatable mold, custom-made for a fandom that worships everything and respects nothing.
  28. It’s entertaining, though composed with algorithmic precision, and it winds up suspiciously neutral about whether kids really should abandon digital enslavement in favour of real-life human friends.
    • 62 Metascore
    • 60 Critic Score
    You find yourself admiring Madonna’s desire to focus forward artistically and to recast her music as expressly political, while wondering if the songs from Madame X are really good enough to warrant so much of the spotlight.
  29. It’s an impressively contrived film, almost a machine for winning awards, a monochrome reverie of midlife yearning.

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