The Guardian's Scores

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For 6,611 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: 2,504 out of 6611
  2. Mixed: 3,787 out of 6611
  3. Negative: 320 out of 6611
6611 movie reviews
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  1. The Way Back
    A clunking underdog/redemption sports movie with a horribly perfunctory and unconvincing script, and a ponderous, half-awake performance from the bearded and stolid Ben Affleck.
    • 66 Metascore
    • 70 Critic Score
    The Chosen
    What destinguishes the film is the intensity of the performances, with Steiger giving one of his perhaps over-familiar but still compulsive portrayals of an obstinate man beset by problems which render him almost but not quite paralysed. Those who admired him in The Pawnbroker will do so again in full measure. [27 Jun 1982]
    • The Guardian
  3. American Star
    Director Gonzalo López-Gallego creates a strong frame around the characters in both visual and narrative terms, while a lovely score credited to Remate, mixed with well-chosen soundtrack cuts, creates a limpid poignancy.
  4. Puzzle
    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.
  5. I Care a Lot
    Although I can’t help wishing Blakeson could have given Pike’s co-star Dianne Wiest more to do in the final act, it is grisly and gleefully cynical entertainment. If Ben Jonson directed films, they would be like this.
  6. Pitch Perfect
    The soundtrack's ironic bent might dissuade older viewers (Simple Minds are venerated), but they'd be missing out on one of the best musical comedies since A Mighty Wind. The song's the same, but Pitch Perfect is a great cover version.
  7. Mary Poppins Returns
    I admire it for its craftsmanship and technique, like a machine for creating nostalgia.
  8. Dog Man
    Dog Man is packed with goofy gags that whizz past, with no let up from the hectic pace.
  9. Downton Abbey: The Grand Finale
    The film is very silly and always watchable in its weird way.
  10. Starve Acre
    Smith and Clark, at the head of a very capable supporting cast, keep the movie on an even dramatic keel, with intelligent, thought-through performances putting life back into some familiar tropes.
  11. Vivo
    The eye-popping gloss of Vivo will probably lure in impressive numbers for Netflix (the animation itself is generic but impressive) but in a genre that promises so much magic, the spell cast by Miranda and co is a brief one.
  12. Last Passenger
    Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.
    • 66 Metascore
    • 60 Critic Score
    Patema Inverted
    The animation is intricate and beautiful but the narrative is clunky and heavy-handed in places.
  14. A Woman's Life
    Charline Bourgeois-Tacquet’s new film is a hectic, garrulous, breezily agreeable comedy of midlife emotional upheaval, unencumbered by any serious or permanent concern about any of the passion and heartache that it briefly encounters. It’s also a movie that declines to allow its characters to be changed in any way by the excitements and disappointments that life has to throw at them.
  15. The Toxic Avenger
    This solid roster of acting talent can’t do much about how frankly uninteresting and unfunny The Toxic Avenger is most of the time. As satire or spoof of both superhero movies and scary movies it is abysmally obsolete, and on its own terms as horror-comedy it achieves neither scares nor laughs.
  16. Hope Springs
    As the couple try to rekindle the bedroom flame the note of cutesy comedy kicks in and the movie gets phonier and phonier.
  17. Distant Constellation
    It’s a thoughtful, dream-like film, but, in the end, I’m not sure what Distant Constellation is saying about age or memory.
  18. The Missouri Breaks
    On first release, Arthur Penn's 1976 western found itself derided as an addled, self-indulgent folly. Today, its quieter passages resonate more satisfyingly, while its lunatic take on a decadent, dying frontier seems oddly appropriate.
  19. Dario Argento Panico
    It’s sort of impressive how much director Simone Scafidi allows Argento’s dark side to show through all the hype about his genius.
  20. The Rivals of Amziah King
    McConaughey may be a capable driver, but this is an unwieldy vehicle – oversized, overlong and altogether way too many parts to run smoothly.
  21. The SpongeBob Movie: Search for Squarepants
    Whether its spitballing silliness will linger when the lights come up is debatable, but it’s a solid SpongeBob movie.
  22. Rogue One: A Star Wars Story
    This is another really entertaining fantasy with fan-fiction energy and attack.
  23. Summer of 85
    There is tragedy in this story, but the grownup questions of guilt and loss are de-emphasised.
  24. Widow Clicquot
    It’s not quite the full grand cru period drama from the Merchant Ivory vintage, but rather a semi-sparkling biopic.
  25. A United Kingdom
    Maybe any biopic risks naïveté in suggesting the agony of postwar Africa can be soothed by a love story about a handsome prince. But this movie has candour, heartfelt self-belief, and an unfashionable conviction that love conquers all - though not immediately.
  26. A Good Woman Is Hard to Find
    The opportunistic genre-welding holds together thanks to vivid performances. Bolger makes a slightly implausible character arc completely convincing, graduating from panicky improvisation to grim determination.
  27. Kalki 2898 AD
    It’s all a lot, as they say, but those with a taste for maximalism will swoon over the goods on offer here.
  28. Last Night in Soho
    The contemporary half of the film is for me less interesting, particularly in the overextended third act.
  29. White Girl
    Buttons will definitely be pushed by White Girl, but after the moral panic hopefully people will still be talking about the film itself.
  30. Carmen Jones
    The 1954 film version of Oscar Hammerstein's all-black Broadway musical now feels like a relic from the gruesome social straitjacket that was segregation; every frame, you feel, is freighted with the tension imposed by the never-appearing white folks. It was, however, laudable in its desire to showcase the talents of African-American performers who were denied opportunities in Hollywood.
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