The Guardian's Scores

For 2,283 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: 63
Highest review score: 100 There Will Be Blood
Lowest review score: 20 Savages
Score distribution:
2283 movie reviews
  1. There is so much detail in the breakneck race from image to image that Isle of Dogs will reward multiple viewings as much as any Anderson film, visually if not narratively.
  2. Just as 2011's Rise of the Planet of the Apes surpassed expectations, so this sequel delivers on its promise and leaves us wanting more – which we'll almost certainly get.
  3. It’s terrifically watchable, a high-octane automobile of a film with dodgy steering, but exciting in a world of dull and prissy hybrids.
  4. This is an urgent, deep soak in the current refugee crisis.
  5. The genius of Alpha Papa, then, is in remaining faithful to Partridge's small-screen soul while also managing the demands of a big-screen Alan.
  6. While the subject matter is enraging, the film is not without warmth and occasional levity.
  7. It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
  8. Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
    • 88 Metascore
    • 80 Critic Score
    Strangers is full of marvellous set pieces and uses the architecture of Washington to dramatic effect.
  9. At a tight 72 minutes, the film is a quick and dazzling burst of pleasure, pulling together so many opposing visuals, ideas and genres and coming up with something dazzling as a result.
  10. Like José Luis Guerín's brilliant 2007 curio "In the City of Sylvia," this is one of those rare films that may change the way you view the world.
  11. Dodgy history and dodgier accents, but Kevin Costner's medieval romp still has some magic – and shouldn't be judged on the weakness of its imitators.
  12. Writer-director team Anna Boden and Ryan Fleck (It’s Kind of A Funny Story, Half Nelson) must be applauded for refusing to let their shaggy dog tale line up with any predictable storyline.
    • 76 Metascore
    • 80 Critic Score
    It’s a film which demonstrates that debate, the exchange of ideas, can be as thrilling as any ramped up action flick.
  13. It seems pointless to say that the big friendly giant is the star of The BFG. But casting has never been more crucial. A typically distinctive, eccentric and seductive star performance from Mark Rylance absolutely makes this movie what it is.
  14. The debutant director applies himself with the same quiet assurance and attention to detail he’s displayed in his acting projects.
  15. The Founder is an absorbing and unexpectedly subtle movie about the genesis of the McDonald’s burger empire.
    • 82 Metascore
    • 80 Critic Score
    Despite its glorification of thrill-seeking, the message that runs through Mountain like rivulets over rocks is that our highest peaks are places to be revered and respected.
  16. The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
  17. The life of Orry-Kelly is a story that needed to be told, and Armstrong stocks up a lovingly rendered homage-cum-investigation with oodles of verve and panache.
  18. It’s impossible not to laugh at the inspired silliness and charm of Park’s universe. Early Man is a family film that doesn’t just provide gags for adults and gags for children: it locates the adult’s inner child and the child’s inner adult. It’s a treat.
  19. He lived until recently in bohemian chaos in one of the "artist apartments" in Carnegie Hall, and cares nothing for money or vanity. That's real class.
    • 66 Metascore
    • 80 Critic Score
    It's a smart, cynical look at space travel, treating it as a blue-collar job and not a divine calling as Kubrick and others would have you believe.
  20. Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.
  21. The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.
  22. Blunt’s performance has an edge of steel. She brings off a mix of confidence, bewilderment and vulnerability, which functions very well against the alpha male characters higher up the chain of command.
  23. For all its flaws - in fact, perhaps because of them - Le Week-End is a work borne from, and provoking, real feeling.
  24. Author is less a run-through of one of the biggest controversies to plague the literary world in the past century, than an illuminating study of the enigmatic and driven woman behind the phenomenon.
  25. A nightmarish triptych of loss, waste and grief that is nonetheless arranged with such visionary boldness that it dares us to look away.
  26. [A] gripping, well-acted and sharply-written low-budget drama.

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