The Guardian's Scores

For 6,554 reviews, this publication has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 London Road
Lowest review score: 0 Melania
Score distribution:
6554 movie reviews
  1. We should be on the edge of our seat but every should-be set piece falls flat, the choreography always feeling a little off and the editing never works as tightly as it should.
  2. It’s now commonplace to compare programmatic stuff like this to AI, but this is almost a second evolutionary step downwards; it looks as if humans, using AI, have tried to copy something that was originally AI generated, creating a bland, simplistic template that can be sold in all global territories where it can be dubbed by local voice talent.
  3. It’s one of those rare, unicorn films that doesn’t have a single redeeming quality. I’m not even sure it qualifies as a documentary, exactly, so much as an elaborate piece of designer taxidermy, horribly overpriced and ice-cold to the touch and proffered like a medieval tribute to placate the greedy king on his throne.
  4. It is bafflingly complacent in its sentimentality and its sheer, fatuous implausibility, which makes it valueless and meaningless as drama and comedy.
  5. Like a lot of movies, Five Nights at Freddy’s 2 has its own souvenir popcorn bucket. This may be the first one where the bucket is more entertaining than the feature.
  6. This cynically Christmassy movie is leaden, unconvincingly acted and about as welcome as a dead rat in the eggnog.
  7. Even in an oversaturated genre of increasingly diminished returns, Shelby Oaks is about as dispensable as it gets.
  8. There’s really nothing to see here, just another synthetic simulation of a film and a genre we used to love, less maintenance required and more complete overhaul.
  9. There is no drama or jeopardy or human interest anywhere. This franchise now looks about as urgently contemporary as an in-car CD player.
  10. Cine-narcissism like this is always tiresome, and it isn’t any more palatable in a European setting.
  11. It takes work to make Murphy entirely unfunny, and this film manages the job one-handed.
  12. Films like Bride Hard, proudly recycling well-known popcorn plots without any attempt at originality, rely on heavy-lifting star power but there’s just none of that here.
  13. Here is a cheap-ass knockoff of Ocean’s Eleven starring John Travolta that makes the Soderbergh film look like something by Andrei Tarkovsky or Ingmar Bergman.
  14. It is burdened by a trite and naive sentimentality that it doesn’t know how to make realistically plausible or transform into romanticism or idealism.
  15. All told, there’s hardly a single smile in Lilo & Stitch ’25 not generated through the stolen valor of the earlier screenplay, and hardly a poignant moment that’s not more admirably raw in the G-rated version.
  16. The madly, bafflingly overwrought and humourless storytelling can’t overcome the fact that everything here is frankly unpersuasive and tedious. Every line, every scene, has the emoting dial turned up to 11 and yet feels redundant.
  17. This fudged, pseudo-progressive approach is so tiring you’ll want to put your head in your hands.
  18. Everyone’s stumbling along in a vaguely defined universe, which really only serves as a backdrop to catchy musical numbers that evolve from folk to pop rock.
  19. There’s never the satisfying pleasure of problems being solved – just people frantically raising them and things magically coming together, a film that should be about process that doesn’t seem particularly interested in it.
  20. It all could have been fun with a teaspoonful of humour, but everyone concerned behind the camera has calculated (perhaps correctly) that this would be inimical to its commercial success.
  21. There’s nothing wrong with a big-hearted film for Christmas, but this commercial and formulaic slice of content is a toy destined to be forgotten.
  22. For a film about living, Here is a remarkably lifeless endeavour.
  23. A dull and predictable sunshine noir that wastes the time of those involved as well as ours.
  24. The ploddingly unvaried pace and undirected, underpowered performances make this an exasperating experience: a directionless, shallow movie which seems bafflingly unconvincing and inauthentic at every turn.
  25. Though it supposedly argues against human beings turned into synthetic quasi-droids, Uglies feels like just another throwaway product.
  26. The commentary on gender and age feels easy and unspecific and the world of the Vegas showgirl created from too great of a distance to really ring true.
  27. It’s genuinely startling just how utterly wretched the finished product is and how unfit it is for a wide release.
  28. Harold and the Purple Crayon is not funny, not insightful about children, and it costs much more time and money to see than simply reading the books that it tries to turn into a meta-text. It makes imagination seem like a garish endurance test.
  29. It’s easily his worst film to date.
  30. The uplift of a woman triumphing in a male-dominated Stem world isn’t enough to get us through a mess of grindingly unfunny dialogue, too-broad performances and an utter, movie-killing lack of charm.

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