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 Night Will Fall
Lowest review score: 20 Deliver Us From Evil
Score distribution:
2283 movie reviews
  1. 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.
  2. An interesting and worthwhile drama.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
  8. Either you are one of the devoted or you’re not. You won’t know what camp you’re in until you see it.
  9. The film is a respectful and valuable tribute.
  10. 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.
  11. What an intelligent, emotionally grown-up film. More of this please.
  12. The film dies an agonising death long before it ever reaches Valhalla.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. Talley strikes you as a man of sincerity and depth behind all the air-kissing and lamé.
  21. The humour feels as if it is pitched at kids rather than adults, and for me Johnny English’s wacky misadventures aren’t as inventive and focused as Atkinson’s silent-movie gags in the persona of Bean.
  22. It is a harrowingly effective film, though flawed by the actions of Weaving’s officer being unconvincingly motivated at the end, and perhaps born of an emollient screenwriting need to split the difference between the Irish avenger-hero and his enemies.
  23. Kendrick and Lively have never been funnier, snapping one-liners at each other like elastic bands; the script is hyper-alert to the undercurrent of competitiveness between stay-at-home and working mums.
  24. I would have loved to hear a discussion on a wider range of issues, particularly #TimesUp, but with a film this much fun, it seems churlish to ask for anything else.
  25. Thoman coolly creates an oppressive atmospheric charge, as well as a deadpan satiric view of a certain kind of chillingly affectless conceptual art. A disquieting and mysterious mirage of a film.
  26. It is a beguiling and unique piece of work.
    • 68 Metascore
    • 80 Critic Score
    The film comes from a place of deep admiration for MIA, but unlike more fawning biographies, it makes a convincing case that this admiration is well earned.
  27. It is reasonably inoffensive, a bit like the recent Goosebumps, in which Black played a comparably defanged role, but it looks as if it was produced by some computer programme, devised by accountants and market researchers.
  28. It’s another of Wahlberg’s collaborations with director Peter Berg, but without the style of their other films.

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