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. Dead Man's Wire
    The personae and performances of Pacino, Domingo and Myha’la complicate the psychopathic nastiness of the affair, and create something surreal and bizarre and often hilarious: a display of, not heartlessness, exactly, but a shrewd professional sense that pity and fear were emotions that could only benefit the kidnapper.
  2. The Voice of Hind Rajab
    There is a reckless, ruthless kind of provocative brilliance in what Ben Hania is doing.
  3. Downton Abbey: The Grand Finale
    The film is very silly and always watchable in its weird way.
  4. On Swift Horses
    Kass and Minahan combine old and new while rubbing suggestively against the grain: the familiar pleasures of watching charismatic young actors meet the novelty of seeing them plugged into situations our period dramas have historically overlooked.
  5. The Conjuring: Last Rites
    Wilson and Farmiga remain solidity incarnate, capable of enlivening even speculative spiritual dialogue. The film-making pulls no surprises out of the hat, though, and gives no indication that it would if it could.
  6. A House of Dynamite
    I watched this film with translucently white knuckles but also that strange climbing nausea that only this topic can create.
  7. Borderline
    The screenplay isn’t nuanced enough to switch between modes in a way that feels intentional and the result is the sense that there are a few different films jostling for attention.
  8. Somnium
    It may think it is tilting at the dream factory, but Somnium simply feels tired.
  9. Afternoons of Solitude
    Deeply caught up in decoding this tradition, perhaps Serra is too beholden to it. If only this admittedly riveting examination of dark human compulsions had found a way to also articulate the perspectives of the animals for whom the arena is a lethal experience.
  10. The Smashing Machine
    The film does not really permit the various emotional crises and issues to supersede the importance of fighting all that much, and the fighting itself is not transformed or transfigured in the drama.
  11. The Testament of Ann Lee
    This is a genuinely strange film, elusive in both tone and meaning, one which deploys the obvious effects and rhetorical forms of irony, while at the same time distancing itself from these effects and asking its audience to sympathise and even admire Lee, because she is not supposed to be the villain.
  12. Late Fame
    It’s a lovely slice of life, a heartfelt New York story – and judging from the brief burst of writing that we are permitted to hear, the postman can rest easy whether he is on stage or at work.
  13. The Wizard of the Kremlin
    The Wizard of the Kremlin just feels pointless in its knowing cynicism, right up to the silly, unearned flourish of violence at the very end.
  14. Father Mother Sister Brother
    Basically, there is a contentment and calm here, an acceptance and a Zen simplicity that is a cleansing of the moviegoing palate, or perhaps the fiction-consuming palate in general. It is a film to savour.
  15. Megadoc
    I still can’t be convinced that Megalopolis is anything other than an (honourable) failure. But Figgis’s documentary is an absorbing success.
  16. Frankenstein
    Finally, inevitably, at the end of the protracted tale, we get to the question of which of the two is the “real” monster. The answer, in this high-minded and eventually rather sanctified romance, would appear to be – neither of them.
  17. No Other Choice
    Korean director Park Chan-wook’s new film brings his usual effortlessly fluent, steely confidence and a type of storytelling momentum that can accommodate all kinds of digressions, set-pieces and the occasional trance-like submission to mysterious visions.
  18. After the Hunt
    The movie is clenched with its own sense of contemporary relevance and risky blurred lines, saddled with an almost deafening score that often grinds straight through the dialogue; the drama becomes an atonal quartet of self-consciousness.
  19. Vice Is Broke
    This isn’t meant unkindly, but Vice Is Broke will be essential viewing for anybody who ever worked there, with its details about who had what job title and when.
  20. Jay Kelly
    Cine-narcissism like this is always tiresome, and it isn’t any more palatable in a European setting.
  21. Bugonia
    Yorgos Lanthimos’s macabre and amusing new film has a predictably strong performance from Emma Stone, an intestine-shreddingly clamorous orchestral score from Jerskin Fendrix and, most importantly, a wonderful montage finale – but frankly it’s a very, very long run-up to that big jump.
  22. La Grazia
    Maybe this film, concluding as it does on a distinctive note of euphoric sentimentality, does not add up to quite as much as the director thinks; but it intrigues, it exhilarates and it shows that Sorrentino is Italian cinema’s heir to Antonioni.
  23. Caught Stealing
    Caught Stealing is a very enjoyable spectacle.
  24. The Truth About Jussie Smollett?
    It’s bold, it’s shocking – and it’s utter nonsense.
  25. The Roses
    The movie has a high gloss and sheen, like something by Nancy Meyers, which creates a diverting disconnect, yet it flinches from the recognisable, tragicomic reality of a bad marriage.
  26. The Thursday Murder Club
    There’s a fair bit to enjoy here, with the club sometimes resembling a kind of senior-citizen X-Men group whose collective superpower is invisibility; old people can do things without people noticing them.
  27. Eenie Meanie
    The film is a mildly diverting yet strangely dated caper, a watered-down Tarantino rip-off without a soul of its own.
  28. Honey Don't!
    It’s hard to stay mad at a movie for refusing to add things up, or resolve its mysteries in any traditionally satisfying ways, when getting lost with Qualley can be such a pleasure.
  29. 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.
  30. Put Your Soul on Your Hand and Walk
    It’s the audacious austerity of Farsi’s film-making that really makes the material sing.
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