The Guardian's Scores

Select another publication »
For 6,577 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
view
per page
  1. Parallel Mothers
    Let nobody fault Almodóvar’s ambition here. If this finally lacks the polished sweep and completeness of Pain and Glory, his previous feature, it compensates with an air of fraught intimacy and throws out a wealth of ideas, leaving some tantalising loose ends to be picked up and examined.
  2. Hell or High Water
    It’s an action-thriller with punch; Bridges gives the characterisation ballast and heft and Pine and Foster bring a new, grizzled maturity to their performances.
    • 88 Metascore
    • 100 Critic Score
    Shirkers
    This is so much more than a film about a film, it’s about young women breaking the rules set in a conservative country - the process of doing that was a lot more powerful than finishing the actual film.
  4. Mildred Pierce
    For its control of narrative, its photography of the vanished suburban California of the 1940s, and for its compelling central performance from Crawford, Michael Curtiz’s noir thriller is utterly gripping.
  5. Poor Things
    Everything in it – every frame, every image, every joke, every performance – gets a gasp of excitement.
  6. Pictures of Ghosts
    [A] somewhat bemused memoir-essay about place, cinema and time.
  7. Aquarius
    It’s a richly detailed character study, immersing the audience in the life and mind of its imperious main character.
  8. So Long, My Son
    So Long, My Son is a piercingly, profoundly moving picture that peels and exposes the senses.
  9. 2000 Meters to Andriivka
    Chernov is armed only with a camera, to the astonishment of many soldiers he encounters, and the film was constructed by editing his footage together with that of solders’ helmet cameras and drone material. Chernov shows us how drones are now utterly ubiquitous in war, delivering both the pictures and the assaults.
    • 88 Metascore
    • 70 Critic Score
    Back to the Future
    Highly entertaining, but that’s about all.
  11. Black Panther
    The intriguing thing about Black Panther is that it doesn’t look like a superhero film – more a wide-eyed fantasy romance: exciting, subversive and funny.
  12. Cemetery of Splendor
    It is such a strange film in its way, stranger still if you are not accustomed to Weerasethakul’s work, and it needs a real investment of attention. But there is something sublime in it.
  13. The Human Voice
    Swinton’s delivery has a theatrical style – it very much feels as if we could be watching a stage show – and there is something frozenly despairing about it; it is the voice of someone who is unwilling to relinquish her dignity or rationality and just give in to an aria of sadness.
  14. Brooklyn
    Without Ronan’s performance, Brooklyn might have left a sugary taste. But she is the ingredient that brings everything together: her calm poise anchors almost every scene and every shot.
    • 88 Metascore
    • 90 Critic Score
    Mary Poppins
    Tomlinson is the great heart of the movie, the warmth to Andrews’ splinter of ice, who, while sustaining the film’s line in jokey verbosity, still manages to be moving.
  16. Apollo 11
    Somehow, it doesn’t look like something that happened 50 years ago – but rather an extraordinarily detailed futurist fantasy of what might happen in the years to come, if we could only evolve to some higher degree of verve and hope.
  17. Poetry
    It is a picture of something inexpressibly gentle and sad, something heartbreaking and absolutely normal, but something stirred up by a violent, alien incursion. Something lands with an almighty splash in this calm millpond of melancholy regret.
  18. Newtown
    It’s a shocking and compelling piece of work.
  19. If Beale Street Could Talk
    In some ways, If Beale Street Could Talk is a portmanteau movie with great performances from KiKi Layne, Regina King and Brian Tyree Henry, a succession of scenes from interrelated lives, constellated around the main narrative arc and supercharged with an ecstasy of sadness and knowledge.
  20. Birdman or (The Unexpected Virtue of Ignorance)
    There’s no doubt it makes for a jubilant ride, a galvanic first blast. But it remains a film which feels deeply thought rather than deeply felt; a brilliant technical exercise as opposed to a flesh-and-blood story.
  21. Out 1: Noli Me Tangere (1971)
    Out 1: Noli Me Tangere is confounding at every level.
  22. Can You Ever Forgive Me?
    Sometimes the shagginess of the film can make it feel a bit slight and at times it does work better as a concentrated character study, but it’s such a joy to spend this time with McCarthy, drunkenly scheming and grumbling, that it’s hard to complain.
  23. Wolfwalkers
    This is a charming and thoroughly likable film.
  24. It Happened One Night
    As buoyant and elegant as bubbles in a glass of champagne, Frank Capra's sublime 1934 comedy, written by long-time collaborator Robert Riskin, survives triumphantly because of its wit, charm, romantic idealism and its shrewd sketch of married life.
  25. Nothing But a Man (1964)
    An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
  26. My Neighbor Totoro
    This inspirationally lovely and gentle film has a real claim to be Miyazaki’s masterpiece, or first among equals in his collection, with a simple hand-drawn design whose innocence only becomes more beguiling with repeated viewings, along with its bright, expansive, Gershwin-esque musical score.
  27. The Invisible Man
    The Invisible Man boasts a brilliantly chill and confident performance from (an almost entirely unseen) Claude Rains and a gloriously over-the-top supporting turn from Una O'Connor as his inquisitive landlady. Moreover, its tart, acid tone largely honours the spirit of the novel.
  28. Amadeus
    In acting terms Tom Hulce's shrieking, giggling Wolfie was easily outclassed by F Murray Abraham's brooding Iago-like villain, but Forman's distinctive central European locations, painterly night-time exteriors and period crowd scenes still look terrific. [2002 Director's Cut]
    • 87 Metascore
    • 90 Critic Score
    The Long Goodbye
    Superbly photographed by Vilmos Zsigmond in a desaturated colour that echoes a bygone age, The Long Goodbye is an elegant, chilly, deliberately heartless movie.
  30. Cairo Station
    Chahine conducts his big cast with uproarious energy, immediacy and freshness; he has tremendous stylised set pieces, including a railway-carriage rock'n'roll number performed by a group gloriously credited as Mike and his Skyrockets.
Page:

Top Trailers

See all »
See all trailers »