The Guardian's Scores

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For 6,610 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: 2,503 out of 6610
  2. Mixed: 3,787 out of 6610
  3. Negative: 320 out of 6610
6610 movie reviews
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  1. The Judge
    The Judge is a thoughtful, sympathetic study.
  2. Hotel Artemis
    For all of its faults, there’s still plenty here to praise, the result of so much being thrown at the wall is that some of it will stick. Pearce has a sharp creative flair and a head full of ideas but he feels somewhat hemmed in by the constraints of a short running time and a high profile release date.
  3. Pick of the Litter
    The finale is more of a schmaltzy salute to the guide-dog ethos than intimate documentation of the new owners’ stories. The street training sequences, though – shot in swooping knee-high Steadicam – are thrilling; mini kerbside action movies.
  4. In the Last Days of the City
    It’s a melancholy, interesting film, slightly opaque, a cine-journal about the way youth is clouded by experience.
  5. October
    If October feels more tentative than Piku, which had rock-solid star turns to ground it, its emotion is at the last earned honestly: any structural wobbles will be nothing compared with the audience’s lower lips come the finale.
  6. Woman Walks Ahead
    Woman Walks Ahead is a solidly crafted and well shot, if basically unchallenging film.
  7. Under the Tree
    Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.
  8. The Party's Just Beginning
    I can’t help thinking Gillan’s superpower as a writer and performer might actually be comedy. Still, always a compelling screen presence, she’s now a film-maker to watch.
    • 83 Metascore
    • 60 Critic Score
    Porco Rosso
    The plot is hardly the point here - the animation is delightful, colourful and detailed and the flying sequences in seaplanes as old-fashioned as this style of animation are exhilarating.
  10. Lion's Den
    Frustratingly, the film tells us little about the crime itself and the denouement is a little unconvincing. The taste of sweat and fear is, however, real enough.
  11. Active Measures
    Bryan’s done his homework, mapping out an elaborate network of past wrongdoings with news clippings and TV footage. If the just deserts that this film demands ever come to pass, it will almost certainly be the most copiously photographed treason in a long and illustrious American tradition.
  12. Ibiza
    The three leads are so strong that one wishes Netflix had granted them a whole series to live in, their everyday lives worthy of a deeper dive. Ibiza is a fun, far-fetched frippery but I’d rather see what happened to them if they’d stayed at home.
    • 60 Metascore
    • 60 Critic Score
    Good Boys
    There’s just one problem. It’s mostly the same jokes over and over: cute kids cursing and not understanding sex stuff.
  14. Nervous Translation
    An opaque, but beautifully composed film.
  15. Fast & Furious Presents: Hobbs & Shaw
    Some enjoyable stuff, although a slightly weird deployment of Jim Croce’s bittersweet song Time in a Bottle at the film’s beginning and end – perhaps inspired by its use for Quicksilver’s slo-mo scene in X-Men: Days of Future Past.
  16. Bill & Ted Face the Music
    It’s amiably amusing, and Bill and Ted’s Peter Pannish inability to accept the ageing process is enjoyably surreal, with a weird tinge of not-entirely-intentional tragedy.
  17. This Is Congo
    A difficult, depressing watch.
  18. Get the Gringo
    However agonising it is to admit it, this film isn't half bad, a sparky black-comic actioner with a cute "con trick" scene showcasing Gibson's Clint Eastwood impression.
  19. 3 Faces
    Jafar Panahi has here created a quietly engaging quasi-realist parable, part of his ongoing and unique creative cine-autobiography, full of intelligence and humility and a real respect for women and for female actors. It is gentle, elusive, and redolent of this director’s mysterious Iranian zen.
  20. Destination Wedding
    The pair share an easy, spiky chemistry and Reeves in particular shows himself to be surprisingly skilled at delivering such bile-filled dialogue.
  21. The Bookshop
    It is a strange, subdued, rather miserable film, interestingly perceptive on conformism and philistinism as a way of life, and on the disconcerting wiles the inhabitants use in order to thwart Florence’s entirely reasonable plans.
  22. Asako I & II
    This is an amusing essay in amorous delusion.
  23. Leto
    Leto is a film with some wonderful moments and some slightly forgettable stretches – like an album with one or two wonderful tracks.
  24. Rafiki
    What Kahiu’s film lacks in originality, it makes up for in its depiction of the giddy flush of first love. Mugatsia and Munyiva have an easy, unfussy chemistry that overcomes some creakier moments of dialogue.
  25. Sauvage / Wild
    What is interesting about Sauvage is that it shows how savagely boring Leo’s life is, quite a lot of the time.
  26. Woman at War
    It is an attractive and sympathetic performance from Geirharðsdóttir as Halla.
  27. Diamantino
    The film is fun, but, for all its inventiveness, it’s a bit tame, with its nice-but-dim hero. But Diamantino is never dull.
  28. Capernaum
    It’s a simplistic film in some ways, with a naive ending – but there is energy and vigour, too.
  29. The Truth
    It’s handsome, it’s amusing, it knows exactly where it’s going. All that is missing is that crucial fifth gear.
  30. McKellen: Playing the Part
    McKellen occasionally slips into the part of twinkly super-cool gay uncle that he tends to play in interviews these days. But mostly he’s thoughtful and self-reflective (and not at all gossipy about his theatrical chums, disappointingly).
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