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. Jirga
    This very fine film has a way of pulling you towards its wavelength.
  2. Marianne & Leonard: Words of Love
    Marianne Ihlen emerges as someone of enormous gentleness and dignity.
  3. The Chambermaid
    Cartol gives a very persuasive performance as Eve, whose inner life is always simmering and bubbling under, while she must maintain a facial blankness as cloudless and pristine as the towels and sheets.
  4. 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.
  5. The Great Hack
    Anyone who says voting is a waste of time needs to watch this film.
  6. The Wedding Guest
    It has an intriguing premise and a gripping first act. But the ending fizzles when it should explode, giving us neither the twisty and suspenseful entertainment that it seemed to promise, nor the serious response to sexual politics in Pakistan that also seemed to be on offer.
  7. Loopers: The Caddie's Long Walk
    Viewers and critics versed in golf lore can pass judgment on how well this documentary about caddies enhances their knowledge of the sport itself. But on the behalf of those utterly uninterested in golf, I can report that it is moderately interesting.
  8. Tell It to the Bees
    Despite the hefty talent involved, there’s a preposterous pass-agg tweeness to this film.
  9. Rosie
    There is great sadness in this film – and great anger.
  10. 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.
  11. Pavarotti
    Bland, incurious and passionless, this documentary about the great tenor Luciano Pavarotti is like a promotional video licensed by a team of copyright lawyers – and about as challenging as a Three Tenors gig at Wembley stadium.
  12. Okko's Inn
    Kōsaka keeps Okko’s quest light and perky, not fully drilling into the vein of childhood trauma-induced fantasy that the best of Ghibli and Pixar hit upon. It proposes attentiveness to others as a means of self-care, but it has the same brisk impatience with real inner conflict that the grandmother has towards Okko’s outbursts.
  13. Point Blank
    Its undemanding nature and flat aesthetic making it an adequate background watch at best. Yet there’s also just enough here to make me wish it had been that bit better, a serviceable watch with a frustrating throughline teasing what could have been.
  14. Our Time
    Our Time, for all its moments of brilliance, takes almost three hours in leading us nowhere very rewarding at all.
  15. Armstrong
    This Neil Armstrong documentary feels like unrequired viewing coming so soon after two cracking moon landing movies.
  16. Stuber
    Really there is very little chemistry between Bautista and Nanjiani, the cameo from Karen Gillan is disconcertingly fleeting, and if you compare this with something like the Beanie Feldstein/Kaitlyn Dever comedy Booksmart, the dialogue really does sound a bit pedestrian.
  17. The Brink
    What emerges from Klayman’s film is how very important Brexit Britain is as a self-vivisecting research animal in Bannon’s experimental thinking.
  18. The Lion King
    Basically, this new Lion King sticks very closely to the original version, and in that sense it’s of course watchable and enjoyable. But I missed the simplicity and vividness of the original hand-drawn images.
  19. Asbury Park: Riot, Redemption, Rock & Roll
    A starstruck Jones hardly pushes his interviewees on it, but somewhere in his naggingly monotonous morass of talking heads is the tale of how the Boss gained a social conscience.
  20. Midsommar
    It’s a thoroughly enjoyable film, a crescendo of paranoid trippiness building to an uproarious grossout in its final moments.
  21. Photograph
    It is weirdly opaque and internalised, and doesn’t ever really come to life.
  22. In Fabric
    In Fabric is indulgent, certainly, and I regretted the fact that the excellent Jean-Baptiste is not as centrally important to the film as I had assumed she would be. When she is gone, the voltage drops a bit. But it is just so singular, utterly unlike anything else around.
  23. Support the Girls
    Support the Girls is a shrewdly observed, day-in-the-life-style portrait of a woman under pressure. It’s way too early to be thinking about awards season, but Regina Hall could be in line for some silverware.
  24. Apollo 11
    Somehow, it doesn’t look like something that happened 50 years ago – but rather an extraordinarily detailed futurist fantasy of what might happen in the years to come, if we could only evolve to some higher degree of verve and hope.
  25. Spider-Man: Far from Home
    Holland is very good but he needs someone to play against, someone with Downey’s heft. That someone could well be Zendaya, as MJ, the great love of Peter Parker’s life. We shall have to see how the Marvel franchise plays this romance in forthcoming episodes.
  26. Anima
    The best of this is Yorke’s music, which is fierce and propulsive. But, as visual spectacle, there is a strong so-what? factor.
  27. Anna
    Anna is not quite pedestrian but it never really feels like the work of someone with anything to say or prove. It’s competent and even complacent at times, a million miles from what one would expect from the director of The Fifth Element.
  28. Annabelle Comes Home
    Annabelle Comes Home is hopelessly light on scares.
  29. Ploey
    Our kids deserve storytelling that has more wit, and animation with better design, but I suppose this will do at a pinch.
  30. The Edge of Democracy
    Throughout, Costa’s voiceover adds shape but doesn’t intrude excessively and lets the powerful compilation of original and archive footage, material shot on the ground in the middle of riots and by drones soaring hundreds of feet above Brasilia, tell the story.
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