The Guardian's Scores

For 2,156 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Aferim!
Lowest review score: 20 God's Not Dead
Score distribution:
2156 movie reviews
  1. The beauty and the pathos of the film are vivid in every frame.
  2. There is no romantic tragedy, nor even a visible grit in the oyster: just a dogged, talented, unassuming professional showing us that it’s about the perspiration, not just the inspiration.
  3. A superlative performance from Gemma Arterton is at the centre of this almost unbearably painful and sad film from writer-director Dominic Savage.
  4. It buzzes with uncomplicated enjoyment.
  5. Their film pushes the limits of documentary filmmaking and will likely push the tolerance of viewers. This is a demanding watch, the arthouse cinema equivalent of the marshmallow experiment, testing the attention span of audiences.
  6. It’s a film whose initial charge of mystery and intensity dissipates over its running time, the narrative impetus slows, and there is that question of tone that is very much not solved by the revelation at the end. These drawbacks are offset by the directors’ terrific confidence and visual style.
  7. The look is cute, deceptively simple and suggestive of the illustrations in children’s books, however, the 2D minimalism is executed with a high degree of craft. It is hard to make something like this look so easy and effortless.
  8. The twist ending is muddled, and has a rather bland and emollient equivalence between intelligence agencies.
  9. You might need a sweet tooth for this gentle, Hornbyesque drama from writer-director Brett Haley. But it’s a likable heartwarmer and very decently acted.
  10. Xavier Giannoli’s The Apparition is a flawed but heartfelt film about the mysterious workings of divine grace, and things that can’t entirely be explained away.
  11. A handful of jokes in this minipop Ragnarok, like the crack at Gene Hackman’s role in the 1978 Superman, land at the exact sweet spot where fond fanboy scholarship meets sublime goofiness.
  12. This is an enthralling drama: the best and most interesting Australian biopic since Chopper in 2000.
  13. The pieces of a potential franchise are put in play here without stakes being raised or pulses quickened.
  14. For all the faith-based platitudes baked into the script, it has to be conceded that directing brothers Andrew and Jon Erwin steer the ship steadily and draw out sincere and persuasive performances from Finley, who really can sing gloriously well, and Quaid, who even with a now ravaged visage is still just as dangerous, compelling and sexy as ever.
  15. This isn’t a particularly chancy film, unless the decision to go old school is considered such. It is still, however, quite good.
  16. Martinessi shrewdly combines subtlety, melancholy, satirical observation and candour about sex.
  17. Stubby’s minimal anthropomorphism makes him a believably doggy sort of dog, whose expressions and behaviour clearly indicate that the animators spent many hours studying the real thing.
  18. What could have been a who’s-sleeping-with-who, tangled-web-we-weave drama quickly evolves into something much more compelling as Nation blurs the line between thriller, psychological drama and character study.
  19. There’s really not much for the humans to do, other than flash brilliant white smiles, making the film feel like the world’s longest toothpaste advert. And it’s a toothbrush you’ll be reaching for after all so much sugary sentimentality.
  20. Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.
  21. A friend who watched this with me said that it’s the kind of film she’d like to see again when she’s dying. That pretty much nails its meditative, melancholy tone and suits the kind of work Goldsworthy does, which is all about the ephemeral and the enduring; time and the tactile qualities of the instant.
  22. Very soon, O’Doherty will be the headline act in comedies like these, but this good-natured crowdpleaser generously lets her steal whole stretches.
    • 74 Metascore
    • 80 Critic Score
    With a premise straight from classic literature and fairytales, Crazy Rich Asians is a transportive romcom about a poor girl who finds her Prince Charming – and is then thrown into the extravagant, glitzy, catty world of the Singapore elite.
  23. 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.
  24. If the shark-versus-Statham bout doesn’t tickle you, the shark-versus-Pekinese sidebar might. Not quite killer, but it’s rare to see a 21st-century blockbuster having this much fun – right through to its sign-off – with its own premise.
  25. Yoon executes all the classic double-agent set pieces with finesse, and those enamoured of the genre will appreciate a change of setting.
    • 62 Metascore
    • 80 Critic Score
    Watching Never Goin’ Back, it’s easy to see the frames of reference Frizzell pulled from, besides her own teenage escapades. But the film also defies easy categorization; it’s not consistently funny enough to be a comedy, nor lively enough to be a drama.
  26. It’s an undemanding watch, easily digestible while on in the background, but even easier to forget.
    • 37 Metascore
    • 40 Critic Score
    Extinction is a competent, if formulaic film. Its dilemma, like many of the films in Netflix’s growing sci-fi catalogue, is the way its best parts are subdued on the small screen while its worst (dialogue and clunky storytelling) are enhanced.
  27. There is modest craft and genuine heart here, not to mention an eye-catching centrepiece: an actor growing more certain of herself, and more capable than ever of holding an entire picture together – even one as unusual, and sometimes as unlikely, as this.

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