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. Undine
    It is possible to come away from the film less than convinced, but very impressed by the sheer force of Petzold’s film-making talent (recently so stunning in his drama Transit) but which has been here deployed for something which is a bit flimsy and silly.
  2. Charlatan
    Charlatan is a film that does not quite satisfy the curiosity it arouses.
  3. Mogul Mowgli
    It is a deeply personal drama about culture, family, community and what it means to represent – though it can also be self-indulgent and even a bit self-involved, though this is arguably a function of the story.
  4. Minamata
    Minamata is a forthright, heartfelt movie, an old-fashioned “issue picture” with a worthwhile story to tell about how communities can stand up to overweening corporations and how journalists dedicated to truthful news can help them.
  5. All the Bright Places
    Haley, who last directed the sweet and underseen Hearts Beat Loud, gives the film a stronger aesthetic than most Netflix teen offerings, and Fanning and Smith work hard at charming us into submission, but their hard-to-buy relationship isn’t quite the immersive ride-or-die love connection it needs to be, given the melodrama of the last act.
  6. Malmkrog
    For all that this film has something exasperatingly opaque and inert about it, it has an uncompromising insistence that ideas matter. These people’s thoughts, although debatable, are not simply presented as absurd. Malmkrog is a long, demanding experience – a real festival event. But that bizarre dreamlike eruption lives on in the mind.
  7. Kill It and Leave This Town
    This is not animation which is there to exalt, or soothe, or celebrate human loveliness: it is animation which takes a fiercely miserable satirical stab at the world and itself, a language which is unreconciled, unaccommodated.
  8. Color Out of Space
    The whole thing looks as if it was dreamed up under the influence of a quality batch of LSD. I laughed out loud at the hokiest bits. But I’ve got to admit I was sucked in and genuinely scared, too.
  9. Dark Waters
    Dark Waters is a movie that works marvellously well within its own generic terms, and perhaps after the fey disappointment of Todd Haynes’s previous, rather insufferable fantasy Wonderstruck, this tough, clear movie was what Haynes needed to clear his creative palate.
  10. DAU. Natasha
    What DAU. Natasha shows is the bizarre way that, in totalitarian societies, the normal and the abnormal, the banal and the grotesque, and the human and the inhuman live together side by side.
  11. First Love
    As ever with Miike, the sheer profusion of material, the torrent of wacky creativity, means that there is always something to hold the attention. It’s bizarre and very unwholesome. But weirdly inspired.
  12. Midnight Family
    Somehow Lorentzen shows that it is not the Ochoa family who are the bad guys, but the whole rotten system.
  13. When Lambs Become Lions
    I’m not sure that I was completely on board with this film, which appears to have smoothly carpentered its narrative in the edit. Is it almost too good to be true?
  14. The Public
    It is a film with its heart in the right place, but the dialogue and characterisation are both plonkingly unconvincing.
  15. Waiting for Anya
    The film is gorgeous to look at, all alpine meadow flowers and glorious green mountains. But the drama loses momentum pretty early on.
  16. My Salinger Year
    [A] bafflingly insipid, zestless, derivative film.
  17. End of the Century
    It balances what is with what might have been and what could still be, and, although the result is maybe a bit less substantial than Castro intended, there is a certain literary elegance in the way he sketches it out.
  18. The Assistant
    It is a sombre, realist study of what day-by-day, moment-by-moment abuse actually looks like.
  19. Vivarium
    Vivarium is a lab-rat experiment of a film, with flat, facetious humour and a single insidious joke maintained and developed with monomaniacal intensity. In its way, this film is an emblem of postnatal depression and simple loneliness.
  20. My Hero Academia: Heroes Rising
    All the exertion – fleshed out in visuals that veer from Astro Boy-aping cutesiness to interestingly rough closeups, as if the animation itself is fraying in the heat of battle – pays diminishing dividends. The panoply of powers begin to seem interchangeable, the character arcs dim.
  21. The Invisible Man
    There’s fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion. But Whannell gives us just enough to make us want more and despite the stretched 125-minute runtime, he can’t quite deliver what he loosely promises.
  22. Swift
    Virtually laugh-free, so-so looking with a seriously drippy musical number, it feels like a film slipped into cinemas over summer to sucker parents desperate to do something, anything, to fill a couple of hours.
  23. First Cow
    It is a tremendously engaging story which does something that very few movies do: mention money. Something very palpable is at stake, the jeopardy is real and it’s a question of survival.
  24. Brahms: The Boy II
    It’s so punishingly dull to watch, filled with dry, perfunctory dialogue from Stacey Menear’s consistently uninventive script and shot without even a glimmer of style, that even at a brisk 86 minutes, it feels like unending torture.
  25. Balloon
    How Herbig fails to capitalise on the sheer physical terror of their flight – the balloon’s basket is more a flimsily strung boxing ring – makes you wish someone like Werner Herzog had mounted this mad escapade for real.
  26. Emma.
    Sometimes the casting and staging work well, sometimes not so well.
  27. The Call of the Wild
    The result is a bit corny, a bit cheesy and you might feel self-conscious going, “Aww …” at creatures that are not real dogs but laptop fabrications. But it’s a robust and old-fashioned entertainment with some real storytelling bite.
  28. The Photograph
    Issa Rae and Lakeith Stanfield can’t save this dreary Valentine’s drama that lacks fizzle and emotional stakes.
  29. Sonic the Hedgehog
    Like its fast-moving, attention-deficient hero, this just feels like a rush job.
  30. Untouchable
    Untouchable: The Rise and Fall of Harvey Weinstein (BBC Two), directed by Ursula MacFarlane, is a film of halting testimonies, long pauses, lips pressed tightly together and eyes filling with tears.
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