The Guardian's Scores

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For 6,576 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 2.2 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:
  1. Positive: 2,493 out of 6576
  2. Mixed: 3,764 out of 6576
  3. Negative: 319 out of 6576
6576 movie reviews
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  1. Manchester by the Sea
    Manchester-by-the-Sea is a study of family dysfunction and the worse loss imaginable, but one held back by the fact it’s all filtered through Affleck’s withdrawn lead.
  2. Spotlight
    Spotlight never hits the heights of passion, but capably and decently tells an important story.
  3. Her
    I wished I liked it more. It is engagingly self-aware and excruciatingly self-conscious, wearing its hipness on its sleeve; it's ingenious and yet remarkably contrived. The film seems very new, but the sentimental ending is as old as the hills. There are some great moments.
  4. Tótem
    This is clearly a very personal project for Avilés, and the heartbreak feels very real.
  5. The Boy and the Heron
    The Boy and the Heron is a gentler and slower though no less soulful addition to his canon.
  6. Menus Plaisirs - Les Troisgros
    At one point, Michel Troisgros insists that cuisine is not cinema, but real life. But Wiseman continually spotlights the importance of close observation in ingredients, taste, preparation and presentation that enables the elevation of the material world into art; from creme brulee forensics, to the staff finicking with the tableware until the setting is just-so.
  7. Minding the Gap
    This is a fluent, watchable piece of work, though not quite as lucid as it might have been. A poignant tribute, at any rate, to the lost innocence of skateboarding.
  8. Quest
    Sadly, the problems affecting the Raineys, the African American family whose north Philadelphia home accommodates this heartening documentary, are all too familiar: poverty, drugs, gun violence.
  9. Train Dreams
    At its best, writer/director Clint Bentley and co-writer Greg Kwedar have crafted a gorgeous and poignant film of quiet, bruised life in a fragile place, anchored by a magnificently sensitive and restrained performance from the still-underrated Edgerton.
  10. Foxtrot
    Foxtrot is a movie from Israeli writer-director Samuel Maoz that is structurally fascinating yet also structurally flawed: its accumulations of ambiguity and mystery are jettisoned by a whimsical final reveal.
  11. Pictures of Ghosts
    [A] somewhat bemused memoir-essay about place, cinema and time.
  12. Birdman or (The Unexpected Virtue of Ignorance)
    There’s no doubt it makes for a jubilant ride, a galvanic first blast. But it remains a film which feels deeply thought rather than deeply felt; a brilliant technical exercise as opposed to a flesh-and-blood story.
  13. Wolfwalkers
    This is a charming and thoroughly likable film.
  14. Mission: Impossible – Fallout
    Over two-and-a-half hours, you get a lot of deafening bangs for your buck, and the tourist location stunts are impressive - but there isn’t as much humour in the dialogue as before.
  15. Robot Dreams
    This is a sweet, fuzzy movie, possibly a little soft-hearted. Still, I dare anyone to watch the final moments without a lump in the throat.
  16. Hope
    There is something, for me, unrevealing about the drama, and almost sentimental about the final moments. But Hovig and Skarsgård are both very good.
  17. All Is Lost
    Redford delivers a tour de force performance: holding the screen effortlessly with no acting support whatsoever.
  18. On Becoming a Guinea Fowl
    While it’s such an intriguing idea, an almost absurdist scrutiny of what avoidance looks like and how families choreograph their collective denial, there is something a little bit contrived in it and, though always engaged, I found myself longing for some outright passion or rage or confrontation.
  19. Odd Man Out
    The documentary vividness that Carol Reed brought to the streets of Vienna in The Third Man and London in The Fallen Idol, he here brings to Belfast in this fascinating but imperfect 1947 thriller.
  20. All Dirt Roads Taste of Salt
    It may not always land and gets lost in itself on the way there, but Jackson has crafted a beautiful experiment indicative of ambitious vision, one whose magic outweighs its weaknesses.
  21. Spider-Man: Across the Spider-Verse
    It’s dynamic and intriguing, though the detail and the emotion can get lost in the splurge.
  22. Showing Up
    Everything in Showing Up is certainly valid, but I confess I thought it lacked some perspective on Lizzie’s life, and it is sometimes a bit studied and passionless, especially compared with Reichardt’s previous film, First Cow. But there is sympathy and charm and food for thought.
  23. EPiC: Elvis Presley in Concert
    Elvis is of course a tailor-made subject for Luhrmann, the Moulin Rouge director’s trademark bombast and razzle-dazzle so in tune with the singer’s rattle and roll, which comes through in both his biopic and now EPiC.
  24. Argo
    There's a degree of puffery in the writing, however, that makes this drama untrustworthy.
  25. Sentimental Value
    It’s a baggy comedy, sentimental in ways that are not entirely intentional, but there is value, too.
  26. All of a Sudden
    It’s tender and sometimes beautifully made, but also contrived and occasionally features some too-good-to-be-true caring characters. Frankly, it’s rather precious.
  27. First Reformed
    First Reformed is a deeply felt, deeply thought picture; impressive in its seriousness and often gripping in the way it frames itself as a debate and a sermon.
  28. A Real Pain
    A Real Pain is occasionally insightful on the subject of suffering, sometimes funny, a bit endearing, a little pretentious, often dry.
  29. The Salesman
    The Salesman is a well-crafted, valuable drama.
  30. The Novice
    It’s hard to deny Fuhrman’s pinch-faced vehemence and the film’s hallucinatory verve.
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