The Guardian's Scores

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For 6,576 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: 2,493 out of 6576
  2. Mixed: 3,764 out of 6576
  3. Negative: 319 out of 6576
6576 movie reviews
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  1. Ford v Ferrari
    It is crammed with unearned emotional moments and factory-built male characters whose dedication to their sport we are expected to find adorable and heroic by turns.
  2. Downton Abbey
    The plots are rickety and the characterisation has the depth of a Franklin Mint plate, but there are some funny moments and Kevin Doyle, playing the overexcitable servant Molesley, pretty much steals the entire film.
  3. About Endlessness
    About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.
  4. Jojo Rabbit
    It’s oddly safe, given the subject matter, and the humour is similarly sanitised. What Waititi thinks is shockingly audacious is in fact frustratingly timid, he opts for a gentle prod when maybe a punch would do.
  5. Ema
    While I confess that I found Ema to be a notch down on his best work, it’s still hugely distinctive and daring and may well be a grower.
  6. Honey Boy
    For LaBeouf, the script was quite literally a form of therapy for deep-rooted issues he still struggles with and as such, it’s an inventive and admirably introspective exercise. As a film though, it’s only half as successful, not quite as involving or as stirring for us as it surely is for him.
  7. Scarborough
    The performances are strong and full of passionate conviction, which somewhat moderates the problematic aspects, while the use of natural light and tacky seaside textures does succeed in generating some atmosphere.
  8. The Painted Bird
    I can state without hesitation that this is a monumental piece of work and one I’m deeply glad to have seen. I can also say that I hope to never cross its path again.
  9. Just Mercy
    Cretton ... can’t quite rise to the material or his performers, choosing anonymity over ferocity, making the dullest, safest decision at every turn. It’s not enough to topple the fascinating true story at his film’s centre but it does have a frustrating, flattening effect.
  10. Hope Gap
    Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again.
  11. Blackbird
    It’s less of a film and more of an actors’ workshop, an exercise for everyone involved but meaningless to us.
  12. Hustlers
    Lopez slinks through Hustlers with a deceptive ease, as in control of the film as her character is of her situation. It’s the sort of role that only a true movie star could pull off, so much of it reliant on a rare, intoxicating magnetism.
  13. Waves
    So there are two films here: one is frightening and poignant and the other tender but slight. The first one will haunt me even if the second will fade.
  14. Knives Out
    A contemporary whodunnit that both respects and revises the subgenre. ... It’s such a rare pleasure to see a director so in love with a genre without slipping into Tarantinoesque fanboy indulgence, remembering his audience is bigger than himself and also that his film requires both head and heart.
  15. Ne Zha
    I enjoyed the jolt of strangeness delivered by this world of demons stalking the Earth. But the action is hit-and-miss.
  16. It: Chapter Two
    Like the first film, it becomes a virtual non-narrative anthology of standard jump-scares that could be reshuffled and shown in any order. The second time around, your tolerance for this is tested to destruction and beyond because, unlike the first movie, it is just so pointlessly long.
  17. The Informer
    The Informer is spread over a big canvas, but by the time of its big finale it is leaking energy. It might have made better sense as an episodic drama on television but it is brash and watchable, its world reeking with cynicism and fear.
  18. The Perfect Candidate
    The Perfect Candidate is a simple story, told without frills or even much in the way of nuance. But it’s socked through with great power, conviction and an underlying hope for a better world.
  19. Bait
    What an intriguing and unexpectedly watchable film. Bait is an experiment – and a successful one.
  20. Wasp Network
    The film is glossy, illuminating and frequently exciting. What it lacks is an emotional charge and a fine-grained texture. We need to invest in these people in order to understand their decisions – and care about the consequences of these.
  21. American Skin
    No one in real life speaks the way they do in this film. No genuine drama is this crudely ordered drama, with its telegraphed turnabouts and conveniently-placed confessions, all building to a stage-managed plea for tolerance and unity.
  22. Inna de Yard
    The movie’s a great night out, but you sense it’ll also become a priceless resource.
  23. Mrs. Lowry & Son
    An entertaining showcase for two first-class performers.
  24. The Laundromat
    The film’s prize asset ... is Meryl Streep.
  25. Judy
    Zellweger gives us a tribute to Judy Garland’s flair and to that ethos of the show needing to go on being both a burden and driving force. Yet Garland’s terrible sadness is mostly invisible.
  26. Edie
    We get some lovely photography of the Highlands and the breathtaking landscapes all around Inverness, and Hancock is always a potent presence. But she could have done more, conveyed more, with a story that wasn’t so basically simplistic and familiar.
  27. Seberg
    It tells us that Seberg was wronged and that she looked really great in a bra – and not necessarily in that order.
  28. An Officer and a Spy
    It’s a solid, well-crafted piece of professional carpentry, like a heavy piece of Victorian furniture; built to last; built to be used. The longer you look at it, the more impressive it grows.
  29. A Million Little Pieces
    A Million Little Pieces is a weirdly unreflective exploration of the destructive force of addiction and, setting a new benchmark for blandness, drags on for what feels like a million not-so-little minutes.
  30. The Mustang
    Brilliantly, Schoenaerts almost underplays Roman’s anger, lumbering slowly like a wounded animal, the downward slope of his eyes conveying a howl of rage. It’s an electrifying performance.
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