The Guardian's Scores

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For 6,571 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:
  1. Positive: 2,490 out of 6571
  2. Mixed: 3,762 out of 6571
  3. Negative: 319 out of 6571
6571 movie reviews
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  1. Fuze
    While there’s something engaging in how the film takes us to a place so, literally, far from where we started, how we get there is not as entertaining or propulsive as it should be with anonymously staged action, easy-to-spot twists and a crucial lack of suspense.
  2. The Fence
    In some ways, the film is hallmark Denis, flinty and strange and sometimes inscrutable. But it is also a disappointment, a leaden film whose points Denis has made more convincingly elsewhere.
  3. The Wrong Paris
    Those seeking a feelgood romcom should keep looking.
  4. 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.
  5. California Schemin'
    California Schemin’ is, in the end, a kindhearted film about integrity, about art for art’s sake, about embracing one’s roots.
  6. Bonus Track
    It’s an entertaining and sympathetic movie, if a bit route one, and audiences might possibly feel that TV shows like Sex Education and Heartstopper go a bit further and with more contemporary nous. But nice performances from Anders and Small bolster this movie’s likability factor.
  7. Eternity
    I admired a great deal here, though, especially Freyne’s attempt to transport us back to a cinema landscape before it was dulled down by streaming. That’s an afterlife I would happily choose.
  8. The Man in My Basement
    It’s an eerie, disquieting experience.
  9. Spinal Tap II: The End Continues
    There’s lots of good stuff here, some witty reboots and reworkings of gags from the first film and sprightly update appearances from minor, half-forgotten characters currently residing in the “where-are-they-now?” file.
  10. Sovereign
    This is muscular stuff, with a firm grip on your attention.
  11. The Long Walk
    The result comes across like a cross between a buddy movie and a horror movie – a war movie without the war. Ultimately, it all comes down to the core relationships, so it’s just as well that Hoffman and Jonsson are both terrific; their stars are certain to rise further off the back of this.
  12. Went Up the Hill
    Things eventually escalate, the pressure valve of pent-up emotions building and releasing. But it’s a long and demanding ride to get there, full of solemn looks and thousand-yard stares.
  13. Islands
    It’s refreshing for a film-maker to opt for subtlety, and there are good performances from Riley, Martin and Farthing.
  14. Nuremberg
    The movie reduces Kelley’s psychiatric insights into soundbites, manages to whittle down the proceedings at the Nuremberg trials into the familiar tropes and cliches from classic courtroom movies, and even lets Crowe’s performance surrender its nuances to hammy villainy, all for the sake of reliable entertainment.
  15. Hedda
    It’s an impressive feat of technical film-making, which has now become a hallmark of DaCosta’s work. But she caves to baser impulses in reinterpreting an old and, some might say, crusty play.
  16. From Ground Zero
    A heartbreaking collection.
  17. The Christophers
    The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.
  18. Ballad of a Small Player
    Ballad of a Small Player ends up a little too slight, a sketchy look at a familiarly doomed character.
  19. Hamnet
    Zhao is a good fit for the material. She, too, is a close observer of nature and of the many aching, yearning people passing through it. But she has previously not made anything as traditionally tailored and refined as this.
  20. Rental Family
    Hikari and company mostly skim over the tension in a movie seemingly built out of highlight reels and lacking connective tissue.
  21. Bad Apples
    Etzler manages some nasty comedy, sourced from the bracing jolt of watching teacher and student cruelly manipulate one another. And he shows a sturdy technical command throughout.
  22. At Work
    The film, though eventful enough, does not quite succeed in its tacit claim to be a study of poverty; the author behaves like a student who is stoically accepting some temporary dodgy accommodation.
  23. Roofman
    Another, more textured film might have tried to paint him as more than just lovable rogue but Roofman is too focused on making us feel good rather than bad. I would have settled for conflicted.
  24. Good Fortune
    There are noble intentions to Good Fortune, in ways related to both the resurrection of the big-screen comedy and its of-the-moment through-line about the increasingly untenable class divide in America, but also not a lot of laughs, the idea of its existence more appealing than the experience of watching it.
  25. Wake Up Dead Man: A Knives Out Mystery
    It’s as twisty and stuffed with second and third guessing as one would want but its charmingly convoluted nature feels as elegantly composed as it felt in the original, building to a finale that leaves us with a satisfied smile.
  26. Pompei: Below the Clouds
    It is an intensely disquieting, utterly distinctive film and a superb final panel to his triptych.
  27. The Lost Bus
    The writing might be disappointingly inelegant but The Lost Bus is forthright and frightening regardless.
  28. Steve
    A drama suffused with gonzo energy and the death-metal chaos of emotional pain, cut with slashes of bizarre black humour.
  29. Christy
    Christy Martin’s life was filled with devastating blows but in her biopic, we barely feel the impact.
  30. Erupcja
    The initially alluring casualness of Ohs’s project fades quickly into a mildly irksome shallowness – lots of unearned and unconvincing staring, docile conversations, should-be evocative images that do not evoke.
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