The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Annabelle Comes Home
    Annabelle Comes Home is hopelessly light on scares.
  6. Ploey
    Our kids deserve storytelling that has more wit, and animation with better design, but I suppose this will do at a pinch.
  7. 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.
  8. Holy Lands
    A good performance from Tom Hollander can’t save this stodgy, ungainly and strangely reactionary family drama from the French writer-director Amanda Sthers.
  9. Swinging Safari
    Is this outrageous comedy sexy or revolting? Elliott proves – though this feels like the least of his achievements – that a film can be both.
  10. Child's Play
    Child’s Play bubbles with entertaining bad taste.
    • 57 Metascore
    • 60 Critic Score
    The Quiet One
    It would have been nice if he [the director] got meatier, or rarer, material from Wyman regarding what the film’s potential audience cares about most – the story of the Stones.
  12. In the Aisles
    In the Aisles is a poignant and richly sympathetic film.
  13. The Hummingbird Project
    It’s the kind of verbose corporate parable David Mamet would sit down to write after a heavy night on the sauce.
  14. Shaft
    Even outside of the script’s aggressively repetitive bigotry, the shambolic Scooby Doo plot struggles to grab even the slightest amount of attention.
  15. We the Animals
    It is a thing of beauty: too beautiful perhaps, running a real danger of prettifying poverty.
  16. Murder Mystery
    A surprisingly nimble summer comedy that finds both Aniston and Sandler at their most charming.
  17. Toy Story 4
    It may only be a repeat of earlier ideas and plotlines, but compare it to the fourth films in other franchises and Pixar’s latest is an amusing and charming gem.
  18. Men in Black: International
    It’s time to wave the neuralyzer in the face of every executive involved and murmur softly: forget about this franchise.
  19. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    This is an immersive experience, like being plunged back into the 70s. There is passion there. No matter how chaotic or bleary things get, no one is in any doubt that the music counts.
  20. I Am Mother
    The way it subverts (to say the least) traditional concepts around a parent/child relationship gives it uniqueness and value.
  21. 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.
  22. The Raft
    It is an interesting story, and yet the film doesn’t quite summon up the atmosphere of the raft. It doesn’t fully plunge you into that strange milieu, nor does it quite analyse exactly what was going on.
  23. The Etruscan Smile
    Its arcs and beats are as careworn as your grandfather’s armchair.
  24. Palm Beach
    After a lax first half, Palm Beach slowly settles into a groove, growing in complexity and nuance. However, Ward’s laidback approach is not remotely cinematic (this feels more like a filmed play), and never is there a sense of urgency or stakes.
  25. Bharat
    Bharat’s Achilles heel is its desire to pack so much in, at headspinning pace, tossing causality to the wind. Zafar reduces history to one damn thing after another, resulting in a 150-minute fire sale of period costumes and abandoned story beats.
  26. Late Night
    At heart, Late Night is a romcom and like so many romcoms, the funny stuff recedes after the first act, as the plot and its relatability imperative gets into gear. Yet Kaling is very good at conveying the paradoxical misty-eyed idealism of those working for this long-running TV institution.
  27. Gloria Bell
    Whether or not you have seen the original film, there is a terrific performance here from Moore, and an equally good one from Turturro, who may be entering into his own golden years of bittersweet character work.
  28. Dark Phoenix
    The point of a phoenix, dark or otherwise, is that it rises from the flames. But these are the flames in which this franchise has finally gone down.
  29. Domino
    Even die-hard De Palma completists would be better served by forgetting this one exists – a tedious, ugly thriller devoid of anything to say that will serve as a regrettable footnote for a distinguished film-maker who is capable of so much more.
  30. Always Be My Maybe
    Like Set It Up before it, Always Be My Maybe hits all of the beats we have come to expect yet fails to do so well enough, as if the mere existence of a technically well-structured romantic comedy is better than nothing.
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