The Guardian's Scores

Select another publication »
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
view
per page
  1. 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.
  2. Loro
    It’s a flawed, undigested film that, like Sorrentino’s movie Youth, is knowingly indulgent of old men’s foibles. But there is one great scene in which Berlusconi, just to prove he’s still got it, cold-calls a woman out of the blue posing as a realtor and tries to sell her an apartment off-plan.
  3. Dreamland
    Dreamland is no masterpiece but it is a robustly made action drama, with impressive and even daring visual sequences.
  4. Skin
    Jamie Bell’s tough performance carries this forthright, earnest, if limited drama.
  5. Murder Mystery
    A surprisingly nimble summer comedy that finds both Aniston and Sandler at their most charming.
  6. Meeting Gorbachev
    Despite the film’s obvious interest, it is a bit conceited and stately, a little like Wim Wenders’ movie about Pope Francis, though without the sycophancy.
  7. The Projectionist
    For cinephiles, this will be effective propaganda in service of a belief they already hold, a reaffirmation of their purist convictions from a simpatico mind. ... [But it] can sometimes slip into slightness, as Ferrara pads an already slim run time.
  8. Trial by Fire
    The film’s old-fashioned nature is a plus and a minus, delivering us the satisfying beats we’ve come to expect from such a story, yet also giving it a dusty, dated feel, playing like a mid-90s TV movie stumbled upon late at night.
  9. American Woman
    Despite featuring big-name actors – Miller, Paul and Mad Men’s Christina Hendricks as Debra’s sister – American Woman is a film with a lived-in authentic feel. And Miller plays it beautifully with psychological depth and not a jot of actorly condescension.
  10. XY Chelsea
    This is very much a sympathetic fly-on-the-wall with Team Chelsea, but, considering the high drama of Manning’s life, the resultant film is muted and disjointed, and given to impressionistic images – such as landscapes out of car windows – when really the time could have been spent telling us more.
  11. 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.
  12. It Must Be Heaven
    There are times when the passive, elusive quality of It Must Be Heaven, as with other Suleiman films, eluded me and felt mannered and superficial, but they are stylishly made with a distinctive signature.
  13. Les Misérables
    The director may want to confront these issues head on – the racism and violence just below the surface. Indeed, raising it above the surface is the point. But much of the drama and humanity get blitzed by the molotov cocktails.
  14. The Traitor
    The film has the authoritative air of official history: sometimes brash, sometimes stolid, sometimes with flashes of inspiration and sometimes with long stretches of courtroom dialogue.
  15. The Wild Goose Lake
    I felt that we were not permitted much access to the character’s innermost thoughts, and so some of the film’s romance, and its fatalism, did not have the piercing impact as the visual masterstrokes. But there’s no doubting Diao’s style.
  16. Young Ahmed
    It is an involving story, with a strong lead performance.
  17. On a Magical Night
    Christophe Honoré, now edging into veteran status with his 12th film, once again steps up to the oche of desire and infidelity. But this peppy, flighty and self-involved film – a hybrid of marital drama, chamber piece, erotic farce and crypto-musical – hovers frustratingly outside the bullseye.
  18. Liberté
    This film is an ordeal that I never want to go through again, but it’s undoubtedly executed with a cerebral conviction and uncompromising seriousness that no Anglo Saxon film-maker could approach.
  19. Fire Will Come
    I find myself admiring his visual and compositional sense, while being a bit exasperated by the provisional and coyly non-committal nature of his storytelling.
  20. 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.
  21. Family Romance, LLC
    A strange, faintly frustrating but diverting film.
  22. Beats
    Compared with Mia Hansen-Løve’s resonant French house drama Eden, or Michael Winterbottom’s kaleidoscopic 24 Hour Party People, these beats sound tinny.
  23. Slaughterhouse Rulez
    Crispian Mills directs with zip, throwing things together with a breathlessness that largely distracts from the fact that, for a horror-comedy, Slaughterhouse Rulez is neither particularly scary nor especially funny. But it does have an amiable sort of charm.
  24. What Ever Happened to Baby Jane?
    I can't help thinking that the most interesting things happen in the precredit sequence - the fraught childhood, Blanche's sinister "accident" - but it's still vivid, barnstorming stuff.
  25. 21 Bridges
    Boseman carries off the drama with flair and style.
  26. Crawl
    It’s a direct, nasty, entirely unpretentious B-movie and while this remains faint, faint, faint praise given the state of the genre, it’s one of the year’s sturdiest horror films. I wouldn’t exactly urge you to run rather then crawl to see it, but a brisk walk should do.
  27. The Invisible Man
    There’s fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion. But Whannell gives us just enough to make us want more and despite the stretched 125-minute runtime, he can’t quite deliver what he loosely promises.
  28. Halston
    The archive clips suggest Halston is a role Richard E Grant was born to play: the designer had a long-limbed loucheness, grandiose affectations and put-on accent, along with a fierce perfectionism.
  29. Between Two Ferns: The Movie
    Perhaps the film’s overwhelming ace is an overarching awareness of just how pointless it really is, made with the same disposability with which it should be consumed.
  30. In Safe Hands
    This intelligently performed film is still a welcome look at a vital and underappreciated duty of state.
Page:

Top Trailers

See all »
See all trailers »