The Guardian's Scores

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For 6,610 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: 2,503 out of 6610
  2. Mixed: 3,787 out of 6610
  3. Negative: 320 out of 6610
6610 movie reviews
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  1. Brittany Runs A Marathon
    It’s a film with charm and sweetness but a twinge of anxiety, a little gravitational pull to darker places.
  2. A Vigilante
    The more the movie explains, the less powerful it becomes – ending with a Shining-like finale in the snow that for me was a letdown.
  3. 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.
  4. The Last Black Man in San Francisco
    It’s a shaggy, wistful film that acts as a heartfelt tribute to both a city and a friendship and when the cutesy quirk that surrounds it is dialled down, we’re able to appreciate the underpinning earnestness.
  5. Official Secrets
    Official Secrets is a well-intentioned retelling of a daunting act of courage and as a vehicle for informing more people of who Katharine Gun is, it’s effective, carefully laying out the incremental stakes as well as her noble intentions. Credit for this however lies almost solely with Knightley.
  6. The Report
    The Report is a cool, dry look at the facts.
  7. Little Monsters
    The pure silliness of this idea is enjoyable. The children give guileless performances, and Nyong’o gamely plays the broad comedy for all its worth.
  8. Share
    Even though Share wraps up within a slim 90 minutes, Bianco does struggle to sustain her premise until the end, especially in the final act, as beats start to feel repeated and our investment starts to waver.
  9. I Am Mother
    I Am Mother is undoubtedly a strong calling card with plenty on its mind. I just wish it had figured out what to do with it all.
  10. Holiday
    There is no doubting the verve and style of Eklöf’s film-making – and the brutality from people on an open-ended holiday from ordinary human empathy.
  11. The Competition
    It’s clear that they want to run it as meritocratically as possible, but what’s interesting is how the criteria for what talent is and who gets to judge it come up for debate.
  12. Ma
    Spencer works hard to keep us on her side and it’s her messy, melancholic character work that endures, a portrait of a woman broken and breaking those around her that’s really quite hard to shake. Ma is a few more drafts from perfection but the actor playing her is the real deal.
  13. By the Grace of God
    Ozon has made a decent and valuable film, though it often seems like the drama part of a docudrama: some of the scenes feel like respectful re-enactments that could have gone into a documentary.
  14. Gully Boy
    In the end, Gully Boy runs on very traditional lines, and maybe comes too close to cliche, but is always engagingly dead set on entertainment.
  15. Piranhas
    Giovannesi’s movie is watchable enough, but often looks like a smoothed-out, planed-down version of Garrone’s Gomorrah: Gomorrah without the rough edges, like a classy television version.
  16. Skid Row Marathon
    Undeniably uplifting, even if the string-laden score strains too hard to tweak the tear ducts, this US-made documentary tracks a running group of recovering addicts and paroled convicts who train for marathons together.
  17. Ferrante Fever
    Technically this is competent if not remarkable film-making.
  18. Queen & Slim
    Queen and Slim doesn’t entirely work. The credibility factor isn’t too high sometimes and there are big set pieces that don’t gel. . . . Yet this is a punchy, watchable film.
  19. The Day Shall Come
    It’s a diverting scenario, though maybe it doesn’t quite have the “danger – high voltage” thrill of Morris’s other works.
  20. Pink Wall
    Pink Wall can be a bit contrived at times, with situations that have been rather effortfully created. But there are strong, forthright performances from Maslany and Duplass as the lovers who were never meant to be.
  21. Get Duked!
    Boyz in the Wood isn’t perfect (there isn’t really a wood in it as such and the title is a bit strained), but there’s likable wackiness and weirdness, one or two sizable laughs and a very bizarre deus ex machina moment.
  22. Fisherman's Friends
    Their singing is robustly and winningly performed, and the whole thing is heartfelt. Nice also to see Maggie Steed as the local pub’s landlady. It’s pretty goofy but fun.
  23. Cradle of Champions
    It’s a sentimental film about New York and the way it sees itself: tough, big-hearted, assimilated and patriotic.
  24. Lucy in the Sky
    It is a witty, intriguing film in many ways ... But I also feel the film is unsure of how much to disturb its audience, unsure whether to pursue the chaos and embarrassment of a bungled, noir-ish crime and an unsightly psychological disorder, or to contrive something more emollient: to finesse some sympathy and even heroism for the story’s troubled female lead.
  25. The Dead Don't Die
    Jim Jarmusch’s undeadpan comedy is laconic, lugubrious and does not entirely come to life, despite many witty lines and tremendously assured performances by an A-list cast.
  26. Wild Rose
    Buckley provides a vitamin boost in every scene.
    • 69 Metascore
    • 60 Critic Score
    Out of Africa
    A beautifully made film, but this version of Karen Blixen's life is thickly coated with sugar.
  28. Lady and the Tramp
    Lady and the Tramp works well enough on its own simple terms as watchable, competently made home viewing.
  29. The Perfection
    There’s a rare unpredictability that initially proves alluring, at least until that confusion starts to feel less intentional.
  30. Kalank
    With its clifftop bullfights, expansive Pritam songs and squillion-rupee budget, nobody is likely to come out feeling short-changed. Yet the sight of multigenerational superstars navigating a messily unravelling plot suggests Kalank’s lasting value may be as a carefully colour-graded selfie of an industry – and, in this election year, perhaps an entire nation – in flux.
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