The Guardian's Scores

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For 6,573 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 2.3 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: 2,491 out of 6573
  2. Mixed: 3,763 out of 6573
  3. Negative: 319 out of 6573
6573 movie reviews
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  1. Dolittle
    It’s ultimately a miracle that despite the tortured production process, Dolittle can most generously be described as passable for young, undiscerning viewers. It won’t charm or amuse you particularly but it’s not a catastrophe, the highest praise I can muster.
  2. Horse Girl
    The ambition of Horse Girl ultimately gets the better of it, turning what could be a dark but insightful depiction on signs missed in a mental health crisis into an agreement on one’s madness – a game of what’s real, and what’s not, that feels unsettling to play.
    • 54 Metascore
    • 60 Critic Score
    To All the Boys: P.S. I Still Love You
    To All the Boys: PS I Still Love You doesn’t quite match its predecessor for heart fizzing romance – the first film dealt sensitively with loss and grief – but it’s just as entertaining and charming anchored by a supremely likable central performance from Condor.
  4. The Doors: Break On Thru - A Celebration Of Ray Manzarek
    The hits comes thick and fast, tightly arranged and slickly performed, but this lineup of well-preserved mostly male musicians gives the show the bland atmosphere of a celebrity tribute band.
  5. Plus One
    It needed bigger laughs and more of the big, ironic comedy that Erskine can clearly deliver.
  6. Daniel Isn't Real
    It’s full of plot holes but compulsively watchable for the first hour, before the whole thing falls to pieces as Mortimer chucks in a load of well-worn horror-movie tropes.
  7. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    This film is a blitz of bad taste, a cornucopia of crass, and it is weirdly diverting – more than you might expect, given the frosty way Suicide Squad was received critically – and engagingly crazy. Watching it feels cheerfully excessive and unwholesome, like smoking a cigarette and eating a chocolate bar at the same time.
  8. The Lodge
    It’s a bruising movie, being sold on the promise that it’s “scary as hell”, a quote that I worry will mislead expectant horror fans. The scariest thing about The Lodge is how human it all is.
  9. The Father
    It’s a difficult, often quite brutal, viewing experience, as it needs to be given the subject matter, not only because of the fractured storytelling but because of the devastating lead performance from Hopkins.
  10. Richard Jewell
    Hauser is the star and he keeps the film on track: poignant, lonely and vulnerable – maintaining the tricky balance of laugh-at and laugh-with.
  11. A Beautiful Day in the Neighborhood
    It’s a given that Hanks will nab at least a best supporting actor nomination but it would be all too easy to forget his co-star. The cynic-becomes-a-believer arc is age old but it unfolds here without cliche thanks to an emotionally intelligent script from Noah Harpster and Micah Fitzerman-Blue, but mainly because of a marvelous, prickly turn from Rhys.
  12. Queen & Slim
    Queen and Slim doesn’t entirely work. The credibility factor isn’t too high sometimes and there are big set pieces that don’t gel. . . . Yet this is a punchy, watchable film.
  13. Beanpole
    Beanpole is moving, disturbing, overwhelming.
  14. Minari
    Chung’s nuanced portrait of a family figuring out their place in the world is both small and somehow rather grand.
  15. Quezon's Game
    The story is a real-life political chess game with the makings of a gripping race-against-the-clock thriller; but here it drags out into sluggish, dull and unconvincing melodrama.
  16. The Rhythm Section
    The rapport between Law and Lively allows the movie both to relax and pick up the pace. Morano puts together good fight scenes, robust stunt work and tasty car chases. It’s destined to be viewed on a million long-haul flights, but it works perfectly well as a thriller.
  17. The Last Thing He Wanted
    The Last Thing He Wanted is a thing that no one wanted.
  18. The Nest
    It’s elegantly constructed and precisely composed, with Durkin painstakingly recreating an era without falling into nostalgic overload. But it’s also a drama about a family that keeps us at a distance for the most part.
  19. Worth
    It’s all so human and messy and it’s refreshing to see a director that doesn’t shy away from such complexity with Colangelo crafting a film that’s every bit as nuanced as the subject at hand.
  20. Uncle Frank
    It is a frustrating filmgoing experience, but still one worthy of your time for the acting alone.
  21. Wendy
    Wendy is undoubtedly self-assured and in-your-face, and the gorgeous location photography certainly has an impact. But it’s wrecked by chapters so lengthy they become simply excruciating.
  22. Downhill
    There’s a lived-in chemistry that’s missing from the pairing and the film’s great many awkward moments between them don’t feel quite as cutting or as uncomfortable as they should. It’s a dark comedy that feels too light.
  23. Shirley
    There’s a lot here to digest, a bitter cocktail with many confounding flavours and its abrasiveness will prove tough-going for some, especially those in search of a more polite and familiarly structured literary biopic. But for those willing to sink into the depths with Shirley, it’s a delicious journey down.
  24. The Courier
    There’s a whiff of familiarity haunting almost every scene and while it would have been rewarding to see Cooke and O’Conner take a few chances or add some more emotional depth, it’s a satisfying enough watch, best viewed with little investment and low expectations.
  25. Zola
    The Twitter-to-screen adaptation of Zola is as scrappy and imperfect as the original story but just as likable. There’s something unusually compelling about what Bravo does with the material that makes up for its missteps.
  26. The Rescue
    The result is as long and as lavish an advert as has ever been produced for the Chinese emergency services. It’s just you might reasonably want your films a little more stirring and challenging, and not quite so obviously rubber-stamped.
  27. The Turning
    This film makes explicit the implied sexuality in the original, which isn’t necessarily a wrong thing to do at all, but everything is very ham-fisted and crass.
  28. The Grudge
    Forget about chilling to the bone, The Grudge barely drops below room temperature.
  29. Miss Americana
    It’s brand management dressed up as insight and while it’s not not entertaining, it’s certainly far from particularly revealing, playing more like a PR exercise then a festival-worthy feature.
  30. Line of Duty
    It’s amiable, but the real action thrills and the chemistry between the leads isn’t there.
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