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. Shirley
    This film finally flinches from its own menacing implications and dark suspenseful power with a rather feeble ending of empowerment and solidarity. A very 21st-century loss of nerve.
  2. Jumbo
    The kooky premise of Jumbo – a young woman falling madly in love with a fairground ride – might invite bafflement but Zoé Wittock’s idiosyncratic comedy-drama is an entertaining blend of sensory overload and sincere empathy.
  3. Palm Springs
    It’s a goofy, drunken scrap of escapism and while the romantic comedy is not fully back, despite think pieces assuring us that it is, Palm Springs energetically reminds us, yet again, that it’s never really going away.
  4. The Night House
    There are enough crafty surprises buried within The Night House to just about outweigh the elements that don’t work quite as well, mainly because it’s all delivered with such fiery conviction by Hall. The house might be built on shaky foundations but its inhabitant is utterly unshakable.
  5. Kajillionaire
    I have taken some time to acclimatise to her distinctive, affectlessly sentimental film-making, but it is growing on me, and Kajillionaire is intriguing.
  6. Zola
    The Twitter-to-screen adaptation of Zola is as scrappy and imperfect as the original story but just as likable. There’s something unusually compelling about what Bravo does with the material that makes up for its missteps.
  7. Escape Room: Tournament of Champions
    Even when it’s trying too hard, the very fact that it’s trying at all makes it hard to dislike. The rules might not make any sense but you’ll have fun playing along regardless.
  8. Cuties
    The film and its accusers turn out to be on the same side: Mignonnes attacks the pornification of girls and young women by social media and society in general; it is about the false promise of liberation in this kind of sexualised display. The offending scenes are gruesomely unwatchable – deliberately so.
  9. The Forty-Year-Old Version
    This is a very unhurried film (I wondered if it might have been better to lose 20 or so minutes) but it has a distinctive language of its own, and a feel for the city.
  10. House of Cardin
    After a somewhat breathless opening section – yes, we get it, Pierre Cardin was a genius – this genuflecting documentary settles down into a watchable portrait of the late fashion designer that astutely showcases Cardin’s ease in front of the camera.
  11. Surge
    Karia is a smart film-maker and this is a valuable beginning.
  12. King Richard
    Enjoyable and well-crafted as it is, this movie can’t quite decide what to do with the tougher, darker side of Richard Williams.
  13. Heimat is a Space in Time
    I was sometimes captivated but often frustrated by this epic essay-film, a meditation on Germany and his own family history that is stark, fierce, austerely cerebral and almost four hours long.
  14. The Courier
    There’s a whiff of familiarity haunting almost every scene and while it would have been rewarding to see Cooke and O’Conner take a few chances or add some more emotional depth, it’s a satisfying enough watch, best viewed with little investment and low expectations.
  15. Uncle Frank
    Uncle Frank doesn’t have the witty indirectness of American Beauty or Ball’s TV classic Six Feet Under, but it has a strong and very convincing performance from Bettany.
  16. Nine Days
    Although arguably a smidge too ponderous and self-serious for its own good, Nine Days still represents a reasonably promising debut for its writer-director Edson Oda.
  17. Tesla
    To watch Tesla the film is to admire its ambition while regretting its follies. Much like Tesla the man, perhaps?
  18. Benedetta
    At the risk of insulting Benedetta, it’s mostly good, clean, wholesome fun.
  19. Blonde
    Well, there’s no doubting that de Armas gives this everything she’s got and that is a very great deal, an expert analogue performance digitally deepfaked into various hallucinations. . . . Her performance is great; the film itself is self-satisfied and incurious.
  20. C'mon C'mon
    It’s an impressively contrived film, almost a machine for winning awards, a monochrome reverie of midlife yearning.
  21. The Garden Left Behind
    It’s not reasonable to ask that the film keeps Tina safe, but a sense from the start that things might end badly for her made me wince a little even during the lovely, authentic-feeling scenes of her life.
  22. Extraction
    Extraction is a little bit hokey and absurd, and the very end has an exasperating cop-out – but it has to be admitted that, in terms of pure action octane, Russo and Hargrave bring the noise.
  23. The Salt of Tears
    It is a watchable, insouciant love story with some great incidental performances, although there is a sense of the shark being jumped 30 minutes from the end.
  24. Ride Like a Girl
    It’s a bit hammy and TV-movie-ish, but you can’t help smiling at its feelgood directness and warmth.
  25. Arkansas
    Not much about this film is original, but the buddy-pairing of two equally competent criminals is something we haven’t seen too often.
  26. Last and First Men
    Last and First Men is an interesting if minor work, perhaps comparable to Nikolaus Geyrhalter’s Homo Sapiens or Michael Madsen’s Into Eternity.
  27. Malmkrog
    For all that this film has something exasperatingly opaque and inert about it, it has an uncompromising insistence that ideas matter. These people’s thoughts, although debatable, are not simply presented as absurd. Malmkrog is a long, demanding experience – a real festival event. But that bizarre dreamlike eruption lives on in the mind.
  28. Minyan
    Steel brings a very distinctive kind of control and restraint to his film, both in terms of its subdued colour palette and an emotional language which despite explicit scenes of both sex and homophobic tension and paranoia, has something opaque and elliptical about it.
  29. Minamata
    Minamata is a forthright, heartfelt movie, an old-fashioned “issue picture” with a worthwhile story to tell about how communities can stand up to overweening corporations and how journalists dedicated to truthful news can help them.
  30. Mogul Mowgli
    It is a deeply personal drama about culture, family, community and what it means to represent – though it can also be self-indulgent and even a bit self-involved, though this is arguably a function of the story.
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