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. The Vanishing
    It’s a very powerfully performed, intimate piece, perhaps inspired at some level by the classic adventure The Treasure of the Sierra Madre. Mullan is very good at suggesting the careworn wisdom of someone who has to be a father figure, or even grandfather figure to men who don’t have his skill in self-control and self-denial.
  2. The Damned
    While it may have more punch as chilly horror-drama than allegory, it’s a decently put together film.
  3. Goat
    The film is a pointed, astute and unflinching look at unbridled machismo and its consequences.
  4. MaXXXine
    West mulches up a thick impasto of pulp, gore, filth and fear and gets away with some colossally self-aware scenes.
  5. Casablanca Beats
    It is all presented earnestly and engagingly, though self consciously, and if the political debates are unsolved, well, that could be because they are unsolved in real life. It’s certainly a heartening demonstration that new ideas can flourish in a religious society.
  6. Enola Holmes 2
    There’s more of the same in Enola Holmes 2, an equally boisterous romp that’s equally as hard to remember once it’s over but one that should keep its many fans engaged enough to warrant further sequels.
  7. Coldplay: A Head Full of Dreams
    This is a watchable, if blandly celebratory and unchallenging portrait of a massive rock institution.
  8. Slaxx
    An entertaining skewering of the hidden global politics in retail trendiness.
  9. Ride or Die
    Ride or Die is well-made and engrossing, despite its occasionally meandering pace.
    • 64 Metascore
    • 80 Critic Score
    Road to Bali
    As the synopsis suggests, plot is nothing more than an excuse to create a string of humorous set pieces featuring visual gags, snappy one-liners and lively song-and-dance numbers.
  11. The Listener
    This is an intriguing, if undeveloped performance piece, elevated by Thompson’s class.
  12. Sitting in Bars with Cake
    Sitting in Bars with Cake careens from zany bar-hopping to hospital, cake baking ASMR to cancer weepie. You could argue that that’s life itself – a lot of chaos, bathos amid the profound – but that’s giving too much credit to the film’s murkier, underdeveloped bits. Still, it has a lasting bittersweetness to it.
  13. Day of the Fight
    Not a knockout, by any means, but a win on points.
  14. Captain Marvel
    I wanted a clearer, more central story for Captain Marvel’s emergence on to the stage, and in subsequent films – if she isn’t simply to get lost in the ensemble mix – there should more of Larson’s own wit and style and, indeed, plausible mastery of martial arts. In any case, Captain Marvel is an entertaining new part of the saga.
  15. Rental Family
    It is bafflingly complacent in its sentimentality and its sheer, fatuous implausibility, which makes it valueless and meaningless as drama and comedy.
  16. The Eight Hundred
    With so much intense focus lavished on the action, there’s none to spare for the characters’ emotional lives, and it’s hard to care much about who lives or dies.
  17. Unstoppable
    Robles isn’t hard to root for but Unstoppable, a rousing yet overdone biopic, tries too hard to get us there anyway.
  18. undertone
    There’s a swirl of creepy noises in A24’s new hyped-up horror Undertone – screaming, gargling, singing, banging – but nothing is quite loud enough to drown out the swirl of films it’s cribbing from.
  19. Catch Me Daddy
    Opinions will divide as to the film's final moments: some may find it all too much, and the film does not quite digest everything it wants to encompass. But there an energy and boldness in the debut work from Daniel Wolfe.
  20. Layla
    It’s carried by a winning performance from Hasna.
  21. Confess, Fletch
    It’s amiable entertainment, and Hamm may well develop in the character if this becomes a franchise.
  22. Quartet
    Hoffman has delivered a love letter to the elderly thesps of his adoptive country. We can forgive him its falsehoods.
  23. Suitable Flesh
    Despite a very game lead performance from Heather Graham, and some amusing 90s-style erotic thriller mannerisms – voile curtains blowing on a hot summer night while a sex scene happens to a wafting sax accompaniment – this left me not knowing quite where to look.
  24. Prometheus
    Ridley Scott has counter-evolved his 1979 classic Alien into something more grandiose, more elaborate – but less interesting. In place of scariness there is wonderment; in place of tension there is hugely ambitious design; in place of unforgettable shocks there are reminders of the original's unforgettable shocks.
  25. Northern Soul
    Every other scene showcases a northern treasure (Coogan, Thomson, Tomlinson, Stansfield) and looks, feels and – crucially – sounds true to its sweaty-hazy, slightly cramped corner of history.
  26. Goon
    Brutal, bloody and presided over by a portrait of Her Majesty the Queen, the Canadian ice hockey in this movie is a cross between Rollerball and a prison riot: harking back to the robust certainties of Paul Newman's 1977 bonecruncher "Slap Shot."
  27. Meet Me in the Bathroom
    The standout star is the passionate and fierce Karen O of Yeah Yeah Yeahs, a Korean-American musician for whom music was an escape from racism and sexism.
  28. Always Be My Maybe
    Like Set It Up before it, Always Be My Maybe hits all of the beats we have come to expect yet fails to do so well enough, as if the mere existence of a technically well-structured romantic comedy is better than nothing.
  29. The Lost Bus
    The writing might be disappointingly inelegant but The Lost Bus is forthright and frightening regardless.
  30. The New Boy
    There are many provocative images: a winking statue of Jesus crucified, for instance, and occasions in which the “new boy” experiences stigmata. But Thornton revels in ambiguity and has no desire to provide viewers a clear pathway to understanding.
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