The Guardian's Scores

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For 6,577 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. Snow White
    This fudged, pseudo-progressive approach is so tiring you’ll want to put your head in your hands.
  2. The Garfield Movie
    This shameless shilling comes packaged in an equally offensive story that foists Hollywood’s au courant fixation with intergenerational trauma on to a character heretofore occupied above all with napping and eating.
  3. Prisoner's Daughter
    One for Hardwicke, and everyone else, to forget.
  4. Winnie-the-Pooh: Blood and Honey
    The awful truth is that this is a generic derivative horror script.
  5. True Spirit
    The cast of True Spirit had no such chance: the schmaltz and mushiness overpower everything. The film’s daytime-soap vibes render an unquestionably inspiring true story into an experience that feels so false, so rinky-dink, I had to remind myself it was based on real life.
  6. Gandhi Godse Ek Yudh
    Gandhi Godse Ek Yudh is, at the end of the day, a mediocre effort. Deepak Antani’s Gandhi and Chinmay Mandlekar’s Godse do share a startling resemblance with the real historical figures, but their characterisation in this fanciful piece of fiction lacks any real conviction.
  7. Rebel Moon Part 1: A Child of Fire
    Going mad with power should be at the very least fun, exhilarating in the indulgence of an artist’s most outlandish whims. Instead, Snyder’s would-be magnum opus is merely boring.
  8. Extraction 2
    The first Extraction was entertaining enough but this new one is just cynically about extracting the cash.
  9. The Mother
    It’s a script which shows every sign of having had plenty of rewrites, though perhaps it could have done with a few more.
  10. Mummies
    Not only is it as derivative as chatbot-written free verse, it’s also not even pleasant to look at. Walk like an Egyptian very quickly away from the multiplex.
  11. Ghosted
    Ghosted is content dictated by algorithm at its absolute, industry-shaming worst, so carelessly and lifelessly cobbled together that we’re inclined to believe it’s the first film created entirely by AI.
  12. A Good Person
    Braff puts us through a gruelling “relapse” montage as Allison hits the pills again after an illusory breakthrough and then a “recovery” montage as she gets it together. And the film’s single valuable lesson – the one about not looking at your phone while driving – is all but forgotten.
  13. Insidious: The Red Door
    The writing expends more effort on teasing out the logistics of seeing dead people than making the phenomenon frightening or emotionally resonant.
  14. Gran Turismo
    Commerce contaminates the whole endeavour.
  15. Please Don’t Destroy: The Treasure of Foggy Mountain
    As comedy writers and movie actors, the members of Please Don’t Destroy – Martin Herlihy, John Higgins and Ben Marshall – are out of their depth. That’s not a knock on their brand of comedy, which works in small doses.
  16. A Brighter Tomorrow
    Everything about it is heavy-handed and dull: the non-comedy, the ersatz-pathos, the anti-drama.
    • 36 Metascore
    • 20 Critic Score
    The Out-Laws
    The wittiest thing about The Out-Laws is its title.
  18. Sound of Freedom
    This is just a dull and badly acted movie.
  19. Two Tickets to Greece
    Calamy gives it everything she’s got but this film is fundamentally heavy-handed.
  20. Bleeding Love
    This unbearably cute joint selfie of a movie is gruesomely indulgent and entitled from the first; it allows Ewan McGregor little or no opportunity to show his natural wit and flair and there is oddly no real chemistry between him and his co-star.
  21. Best. Christmas. Ever.
    At less than 80 minutes, it’s barely even a movie, more one long montage of bits that never run on long enough to be defined as scenes.
  22. Vacation Friends 2
    The bar was low after the first, a half-assed waste of actors who deserve better, but the sequel is somehow even worse, a maddeningly unfunny string of bad decisions, the worst of which was deciding to make it in the first place.
  23. Freelance
    Brie and Cena look lifeless and blank-faced; they’ve got no chemistry, and the objectionable dynamics of him manfully rescuing her shrieking from the clutches of the bad guys on repeat feel like a satire of the genre – which this isn’t.
  24. How to Date Billy Walsh
    It’s a weird facsimile of a movie – plot with no momentum, plenty of character facts without substance, a pastiche of better movie moments and classic romcom notes. Even for lowered expectations or couch-day fluff, this is a skip.
  25. Wicked Little Letters
    There’s something equally impressive and depressing about the squandered potential of misfiring period comedy Wicked Little Letters, a joyless waste of cast, premise and setting.
  26. Old Dads
    When not being used to grind dull culture-war axes, sputtering impotent anger is a comedy staple. It just needs to be funnier than this.
  27. Dashing Through the Snow
    In film-making as in gift-giving, it’s the thought that counts, and there’s not much to go around in here.
  28. Argylle
    This could theoretically be a fun movie, but it is all so self-conscious and self-admiring, with key action sequences rendered null and void by being played on two levels, the imaginary and the real, so cancelling each other out.
  29. Sumotherhood
    Any stabs at thematic seriousness have an incongruous feel. It’s admirable that Deacon, who has been vocal about his own mental health issues, has made his character bipolar, but the subject isn’t explored so much as mentioned repeatedly.
  30. Imaginary
    Aiming for more fun is no bad thing but Imaginary is far too dumb and ungainly to move at the pace required and bring the thrills it should, a theme park ride that should be closed for repairs.
  31. Genie
    It’s as if everyone involved is terrified of actually making people laugh in case that gives offence somehow, or disrupts the algorithmic calculation that theoretically makes this a palatable piece of content. The whole thing is as bland as cellophane.
  32. Animal
    Despite its obvious desire to push buttons, Animal doesn’t have the guts to actually own its transgressions.
  33. War Blade
    This pointless, aimless mission is expedited by the usual logic-slips, like inexplicably letting fanatical SS officers escape when you have them at your mercy.
  34. Irish Wish
    There is of course more here to remind us of Lohan’s unwavering charm but that’s not quite enough to distract from just how tired and limply written the whole thing is and how depressing it is to watch her still stuck here.
  35. Winnie-the-Pooh: Blood and Honey 2
    This splatterfest horror feature is better than its predecessor much in the same way succeeding Covid variants are better than the early, more lethal strains.
  36. Uglies
    Though it supposedly argues against human beings turned into synthetic quasi-droids, Uglies feels like just another throwaway product.
  37. Red One
    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.
  38. The Super Mario Galaxy Movie
    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.
  39. Strictly Confidential
    Once you get to the big reveal, you feel like you’ve sat through a hundred episodes of a saucy daytime soap with the saucy bits cut out. They could franchise out a sequel: Strictly Confidential in Dubai.
  40. Jacqueline (Argentine)
    Jacqueline (Argentine) isn’t just a bad movie – there are plenty of those. It’s infuriating.
  41. TRON: Ares
    There is no drama or jeopardy or human interest anywhere. This franchise now looks about as urgently contemporary as an in-car CD player.
  42. Five Nights at Freddy's 2
    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.
  43. Prom Dates
    What sweetness and charm Prom Dates does muster is thanks to Lester alone, whose comic timing is sharp and whose performance of a girl growing comfortable in her sexuality over one crazy night actually conjures the sense of a real person.
  44. Tyler Perry's Divorce in the Black
    It’s easily his worst film to date.
  45. Space Cadet
    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.
  46. Here
    For a film about living, Here is a remarkably lifeless endeavour.
  47. Shelby Oaks
    Even in an oversaturated genre of increasingly diminished returns, Shelby Oaks is about as dispensable as it gets.
  48. The Last Showgirl
    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.
  49. Saturday Night
    There’s an odd, disconcerting tone of solemnity to this slice of cultural history.
  50. Harvest
    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.
  51. Your Fault
    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.
  52. Killer Heat
    A dull and predictable sunshine noir that wastes the time of those involved as well as ours.
  53. Lilo & Stitch
    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.
  54. High Rollers
    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.
  55. O'Dessa
    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.
  56. Bride Hard
    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.
  57. Leave One Day
    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.
  58. Jay Kelly
    Cine-narcissism like this is always tiresome, and it isn’t any more palatable in a European setting.
  59. Alpha
    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.
  60. The Pickup
    It takes work to make Murphy entirely unfunny, and this film manages the job one-handed.
  61. Rental Family
    It is bafflingly complacent in its sentimentality and its sheer, fatuous implausibility, which makes it valueless and meaningless as drama and comedy.
  62. Maintenance Required
    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.
  63. Christmas Karma
    This cynically Christmassy movie is leaden, unconvincingly acted and about as welcome as a dead rat in the eggnog.
  64. Thrash
    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.
  65. Melania
    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.
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