The Guardian's Scores

For 2,293 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 A Fantastic Woman
Lowest review score: 20 Jimmy P.
Score distribution:
2293 movie reviews
  1. Toning down his usual act in a manner that suggests he’s finally read his reviews, Butler gives it handfuls of dramatic ballast, but this vessel has been badly compromised: any interest seeps out by the frame.
  2. The whole film is like an incomplete fragment, intriguing if frustrating.
  3. The danger of the whole thing collapsing under the weight of its own convolutedness is ever present. That it doesn’t is due to the power of Moore’s closing argument.
  4. Entirely riveting. It made me nostalgic for the BBC’s Young Scientists of the Year programme, which ran from 1966 to 1981. Can’t we revive it?
  5. This is an entirely ridiculous shaggy-dog story, a comedy salted with strangeness and seasoned with surreality.
  6. The problem lies not strictly with what’s on screen – which on its own, reduced terms is basically watchable and not unlikable – but in what’s been elided or forgotten about in the rush to duplicate the original’s surprise success: any sustained wit or personality.
  7. There are scenes that snap together nicely with some sharp and nuanced observations. But the film is saddled with uninteresting surface-level characters. There’s a phoniness exuding from the entire project, made all the more discouraging since the plot-light, shaggy dog story is trying to feel so real.
  8. People will want to make their own minds up about the film, but for me there is something worryingly crass and naive in it.
  9. This is mass-market entertainment with a radical bent, a loudspeaker blast of a teen movie.
  10. The habitual calm and gentleness of Mahamat Saleh Haroun’s film-making here has a sharp edge and an overtly political point – as well as a flourish of violent destruction and despair that blindsided me.
  11. Been So Long has a sweet-natured openness. It balances the tough realities of life in the city with the buoyant possibilities of romance isn’t easy, and succeeds a lot of the time. Michaela Coel is tremendous in the leading role.
  12. An interesting and worthwhile drama.
  13. The conceit is nicely done, and the film’s unexpectedly heartfelt message about empathy and looking at the world through someone else’s eyes just about makes up for its bland animation, smart-arsed script and generic clappy-blah songs.
  14. If you’re looking for world building, you’re come to the right place. Yet its architects prove keener to flytip this secondhand imagery than they are to sort through it.
  15. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evans’s latest is a prime specimen.
  16. There are so many characters at play here and McQueen and Flynn’s script manages to let them all breathe, giving each actor small defining moments and given the exceptional cast involved, it makes for a richly rewarding experience.
  17. For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
  18. Either you are one of the devoted or you’re not. You won’t know what camp you’re in until you see it.
  19. The film is a respectful and valuable tribute.
  20. Columbus is an engrossing and unexpectedly passionate film, although much of the passion is displaced outwards into a feeling for space, for mass, for building materials. It is a static passion, but not inert.
  21. What an intelligent, emotionally grown-up film. More of this please.
  22. The film dies an agonising death long before it ever reaches Valhalla.
  23. An entertaining documentary. Maybe the full story of Studio 54 has yet to be told.
    • 69 Metascore
    • 100 Critic Score
    Refusing to make Breivik spectacular, the film pays tribute to process, how Norway gave him precisely what he was entitled to so as not to give him what he wanted – scale, martyrdom, glamour.
  24. The script crackles with such bleak little jokes like this, relieving the tension in a work that could otherwise prove overwhelmingly depressing and borderline melodramatic.
  25. The film’s insidious crawl away from comedy into sweaty waking nightmare is arresting indeed. As is, finally, its insistence that some elements of American life remain too serious to joke about.
  26. It is a story seemingly meant to be funny but only fitfully successful in this mission, and way too pleased with its own brand of deadpan wisecracking.
  27. There are in fact one or two big gags, but no real sense of fun - not compared to something like Thor: Ragnarok. Director Ruben Fleischer, who made Zombieland and Gangster Squad, is uninspired. Venom is riddled with the poison of dullness.
  28. Moselle is at her most astute when concentrating on the fragile social dynamics that govern the tribes adolescents divide themselves into for survival’s sake.
  29. Hart’s brilliant hyperactive comedy has been dampened and smothered in this disappointingly unfunny showcase, which he has produced and co-scripted with five other credited writers.

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