The Guardian's Scores

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For 6,616 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: 2,508 out of 6616
  2. Mixed: 3,788 out of 6616
  3. Negative: 320 out of 6616
6616 movie reviews
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  1. Magazine Dreams
    Magazine Dreams itself, though flawed by a cumbersome flashback structure in which he is talking to a counsellor, has powerful moments and Majors is very good, especially in the bizarre scene when Killian insists on going onstage at a bodybuilding event just after being beaten up.
  2. Knocking
    The film still feels a tad long for the simple narrative it offers, but moments of visual ingenuity and a deep understanding of psychological suspense show that Kempff is one to watch.
  3. Transformers One
    Breezy, comically self-referential and totally likable. But its charms nevertheless feel like they came off an assembly line – one that has been engineered to deliver Marvel-like results, in animated form of course.
  4. The Prosecutor
    Developed by China’s Supreme People’s Procuratorate and directed by butt-kicking luminary Donnie Yen, The Prosecutor is a bizarre mashup of courtroom procedural and action flick; it is just as keen on lionising due process and the “shining light” of Chinese justice as it is on reducing civic infrastructure to smithereens in several standout bouts.
  5. In the Fade
    Fatih Akin’s mediocre revenge drama In the Fade is the TV movie of the week: feebly uncontentious and un-contemporary.
  6. Animals
    Some of the wisecracking dialogue falls a bit flat and the narrative line is occasionally uncertain, but Grainger creates a watchable quarterlife crisis.
  7. The Audition
    In light of the strange, brutal ending that’s more foreshadowed than it seems, it’s hard to work out where Weisse wants to land on issues around the best way to coax talent, especially in fields such as music where you have to put in a relentless amount of hours to achieve the highest results.
  8. Eddington
    There is no accumulation of drama or tension or intellectual revelation and the setpiece shootout is ultimately valueless. What exactly is it saying that we didn’t know already? The wait for Aster to recover his directorial form goes on.
  9. Klaus
    Solid first and third acts can’t disguise a so-so middle section stuffed with conventional story beats.
  10. Tharlo
    As a bit of anthropology offering a glimpse into Tibetan life today, it’s perfectly serviceable.
  11. The End
    At two and a half hours, Oppenheimer’s strange and ambitious deconstruction of human behaviour – with its bleak but adorning visuals and its novel spin on ideas we’ve seen in The Hunger Games and Yorgos Lanthimos’ Dogtooth – can also be draining. Maybe that’s intentional.
  12. A Brilliant Young Mind
    This is an attractively unparochial drama with a bracing interest in excellence.
  13. Raging Grace
    It generally feels secondhand, though the final musical scene has an authenticity and heart that the rest lacks.
  14. High Society
    Wonderful entertainment.
  15. Aviva
    The film’s big experiment feels only semi-interesting.
  16. Stop-Zemlia
    This gentle, authentic-feeling coming-of-age drama from Ukrainian film-maker Kateryna Gornostai premiered at the Berlin festival in 2021. Released in the UK almost a year to the day since the Russian invasion, her film has become unbearably poignant.
  17. Hostiles
    A flawed, but interesting drama.
  18. Coherence
    Byrkit’s parable about choices and how they make us who we are has an eerie potency.
  19. The We and the I
    Gondry's argument – that pack mentality crushes individual expression – follows a similarly predictable route, but there's enough of his signature playfulness (especially in the use of mobile-phone footage to present flashbacks) to keep the journey entertaining.
  20. Sharper
    Like the luxury goods that in one scene we see being stolen, the performances are out of the top drawer, and it is a great pleasure to see Moore on such good form: no one cries more needily, and with more nakedly sinister intent, than her.
  21. The First Omen
    This 70s-set prelude to the classic satanic horror has flair but struggles with the weight and familiarity of what came before.
  22. Come Sunday
    The good news is that Ejiofor is great even in the scenes that don’t go anywhere. Those who find heaven here on earth in the form of strong film performances ought to commune with Come Sunday. The rest can sleep in.
  23. Wild Diamond
    Khebizi gives a heartfelt performance.
  24. Cargo
    Nevertheless Cargo is a very strong, at times stirring achievement: a zombie film with soul and pathos.
  25. The Gangster, the Cop, the Devil
    Ma, with his natty suits and ruthless glare, brings heft and humour to the proceedings and easily upstages his pretty-boy co-stars.
  26. The Unknown Girl
    The Unknown Woman is an odd, dramatically stilted and passionless quasi-procedural concerning a mysterious death; it depends on a series of unconvincing, and in fact borderline-preposterous, encounters and features a bafflingly inert performance from Adèle Haenel, whose usual spark appears to have been doused by self-consciousness.
  27. The Phantom of the Open
    Rylance is good casting as Maurice: his delicate sing-song voice and sometimes faintly unfocused gaze fit nicely with our hero’s lovably awkward determination, as well as Flitcroft’s sense as a natural comedian that there is something more than a little absurd in the game of golf.
    • 65 Metascore
    • 70 Critic Score
    On Moonlight Bay
    Entertainment as wholesome as mom's apple pie. [13 Jan 2007, p.53]
    • The Guardian
  29. Just Another Girl on the I.R.T.
    There’s an undimmed freshness, warmth and freewheeling energy in this 1992 indie gem, and its director Leslie Harris – whose career since has chiefly involved writing and teaching – deserves a far bigger presence in US film history.
  30. Pacific Rim
    Pacific Rim's wafer-thin psychodrama and plot-generator dialogue provides little for the human component to get their teeth into.
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