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. Diamantino
    The film is fun, but, for all its inventiveness, it’s a bit tame, with its nice-but-dim hero. But Diamantino is never dull.
  2. Madeline's Madeline
    It’s an immersive and exotic experience. Howard is a revelation.
  3. Pain and Glory
    As ever, Almodóvar has made a film about pleasure, which is itself a pleasure: witty, intelligent and sensuous.
  4. Sorry We Missed You
    It’s fierce, open and angry, unironised and unadorned, about a vital contemporary issue whose implications you somehow don’t hear on the news.
  5. 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.
  6. Little Joe
    None of this is represented in any compelling dramatic style, and the actors – all very talented and assured – have perhaps not had clear enough direction. It is a mood piece. Whose mood leads nowhere.
  7. Bacurau
    It is a really strange film, beginning in a kind of ethno-anthropology and documentary style, becoming a poisoned-herd parable or fever dream and then a Jacobean-style bloodbath. It is an utterly distinctive film-making, executed with ruthless clarity and force.
  8. Ferrante Fever
    Technically this is competent if not remarkable film-making.
  9. Breakthrough
    It is presented with no mystery and scant wonder; instead, we get two hours of flatly professional procedural.
  10. 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.
  11. Atlantics
    Atlantique may not be perfect, but I admired the way that Diop did not simply submit to the realist mode expected from this kind of material, and yet neither did she go into a cliched magic-realist mode, nor make the romantic story the film’s obvious centre. Her film has a seductive mystery.
  12. Rocketman
    Rocketman is an honest, heartfelt tribute to Elton John’s music and his public image. But the man itself eluded it.
  13. John Wick: Chapter 3 - Parabellum
    As per the two previous films, Stahelski cranks up the body count with a string of fight sequences so balletic you might forget you’re watching violence – until Reeves sinks a knife into a man’s eye. But, three movies in, franchise bloat is beginning to set in; the dead dog jokes are definitely wearing thin.
  14. High Life
    As with so many of Denis’ films, the point is to contrive an overwhelmingly powerful mood and moment, an almost physiological sensation, this one incubated in the vast, cold reaches of space. It throbbed and itched with me long after the film was over.
  15. Amaurosis
    When The Unseen works it has an interestingly airless atmosphere, a weirdly disconnected, alienated quality that mimics the couple’s fraught emotional state. But the tension and sense of fear were lacking.
  16. 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.
  17. 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.
  18. Amazing Grace
    I felt wrung out at the end of this film. How incredible must it have been for those who were there in person.
  19. Destination Wedding
    A couple of scenes in Destination Wedding fall so calamitously flat I had the disconcerting sensation I was watching the film dubbed in a foreign language or for a spoofed internet meme.
  20. Where Hands Touch
    The romantic relationship with the “good Nazi” is a little too glib (quite as it was in the film version of Suite Française) and the camp scenes have a misjudged sheen of romanticism and come perilously close to the bad-taste border. But Stenberg’s performance is good.
  21. Pasolini
    It’s an intriguing, startlingly restrained and even cerebral piece of work from Ferrara, an unimpeachably serious homage, with an assured lead performance from Willem Dafoe.
  22. The Hustle
    Anne Hathaway detonates a megaton blast of pure unfunniness in this terrifying film.
  23. Wine Country
    Wine Country is scrappy and, at times, misjudged but it’s also very, very funny with a cast of women whose collective charm makes the patchier moments forgivable. Watching it with wine helps too.
  24. Redcon-1
    Cheung shows promise as a shotmaker and stager of blunt-force action. If somebody cares to arm him with a script editor and production grants, we could have a discovery of sorts on our hands.
  25. The Curse of La Llorona
    While it’s nice to see Cardellini nab a rare lead (in the middle of an unusually fruitful time with turns in Green Book, Avengers: Endgame and Netflix comedy Dead to Me), the script fails to provide her with enough meat, despite her predicament, ultimately stranding her with a rather standard shrieking mother role.
  26. Long Shot
    Levine succeeds in giving some genre tropes renewed sheen. Even a rote-seeming, Rogen-initiated drug trip pays off with the cherishable sight of Theron conducting state business with glitter in her hair.
  27. A Dog's Journey
    By their very nature, dog lovers may be more forgiving and enthusiastic, but much of it is reaction shots of trained mutts, right through to the closing-credit snapshots of the crew’s Forever Friends, this movie is almost literally all puppy eyes.
  28. Yesterday
    Although this film can be a bit hokey and uncertain on narrative development, the puppyish zest and fun summoned up by Curtis and Boyle carry it along.
  29. See You Yesterday
    A smart, often ingenious, new film ... What’s most exceptional about the end result is just how deftly [the director] weaves the enraging horror of a racially motivated police shooting into a zippy genre piece.
  30. Pokémon Detective Pikachu
    Without Reynolds this would be pretty run-of-the-mill; with him it’s a perfectly acceptable family movie. Given the history, that’s a giant leap for Pokémon-kind.
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