The Guardian's Scores

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For 6,616 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: 2,508 out of 6616
  2. Mixed: 3,788 out of 6616
  3. Negative: 320 out of 6616
6616 movie reviews
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  1. Your Monster
    As fun as the boys are, this is Barrera’s show. She is tremendous, and seemingly having a tremendous amount of fun.
  2. Simon Killer
    Brady Corbet is excellent as thoroughly unlikable Simon.
  3. Knock at the Cabin
    The Sixth Sense director’s apocalyptic mystery horror is short on both mystery and horror and the ambiguous finale is deeply ridiculous.
  4. Where Eagles Dare
    The development of Bond films in the early 1960s brought a new dimension to espionage-oriented cinema. Where Eagles Dare brings these strands together - fusing the spy story with war action - and helped create a wave of patriotic cold war thrillers that arguably climaxed with The Spy Who Loved Me.
  5. Flathead
    The film’s poetry resides in its thoughtful inactivity, its vernacular spirituality and its gentleness.
  6. Pee-wee's Big Holiday
    The film plays like nirvana for Pee-wee fans.
  7. Kiss of the Spider Woman
    We’re in safest hands with Lopez and Condon when he’s playing in that sandbox as the cell-based scenes can be a little stagey and rushed in comparison.
  8. The Congress
    The Congress contains tricks aplenty and ideas in abundance. The problem comes in herding these scattered, floating elements towards a satisfying whole.
  9. Tallulah
    Yes, the story has the makings of a Lifetime movie; what grounds it are the terrific performances and Heder’s rich direction and screenplay.
  10. Hannah
    It is a haunting portrait of emotional undeadness.
  11. Blood Quantum
    Barnaby’s colonialist take on the formula is far from subtle, and at times a little too bluntly on the nose, but he’s a film-maker with both something to say and the skillset to say it in a distinctive way, offering up an initially engaging alternative to mere guts and shock tactics.
  12. Damsel
    Damsel doesn’t go quite where we think it will, but then, surprise detours are rather to be expected in this kind of anti-quest story, and the film sometimes comes across – for all its grotesque, scabrous or surreal touches – as a little more benign than it might have been.
  13. Master Gardener
    Perhaps Schrader will indeed defiantly return to his accustomed theme for his next film – and this brilliant, restless director might well make it work. Sadly, this one doesn’t.
  14. Weekend of a Champion
    The movie has some real archival value and the simple juxtaposition of Polanski and Stewart – the oddest couple in Cannes, surely – has a surreal impact. But I wonder if there isn't something a little bit placid and self-satisfied about the film, which is paced remarkably slowly, given the subject matter.
  15. The Limehouse Golem
    There are a lot of twists and turns in the plot, but not all of them are satisfying. What does work are the performances, specifically Cooke and the richly sympathetic character she creates.
  16. The Ones Below
    The Ones Below is an intimately disturbing nightmare of the upper middle classes, with tinges of melodrama and staginess, entirely appropriate for its air of suppressed psychosis.
  17. Borg vs. McEnroe
    This tennis film feels like a two-hour baseline rally, and it’s not just the rackets that are made of wood.
  18. H Is for Hawk
    Audiences might, by the closing credits, think they still don’t quite know what happens to Helen and Mabel in the end, or perhaps at any time, but then again real life can feel messy and unfinished in just this way.
  19. Falling
    It’s a really valuable work, beautifully edited and shot, with a wonderful performance by the veteran actor Lance Henriksen: a sombre, clear-eyed look at the bitter endgame of dementia.
    • 63 Metascore
    • 40 Critic Score
    Unsane
    The absurdity and the galaxy of plot holes in the farcical final act just undermine everything.
  21. Blizzard of Souls
    Brantevics convincingly portrays Arturs’ four-year transformation from a callow youth to a war-weary one, but as a national coming-of-age story, The Rifleman never quite outgrows its innocent, uncritical patriotism.
  22. Spring Breakers
    Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.
  23. Fingernails
    The evasive, guarded acting from the main players can only do so much to elevate the paltry material Nikou gives them to work with. A long, fitfully amusing walk down a short road.
  24. Someone Great
    Despite fine performances from Gina Rodriguez and Lakeith Stanfield, the debut film from Jennifer Kaytin Robinson never strays from the genre’s cliches.
  25. Stowaway
    The focus on the job at hand works until it doesn’t as with just the slightest of characterisation, we’re invested in the problem rather than those solving it and the grip of the first two acts loosens as the finale beckons.
  26. Triangle of Sadness
    Strident, derivative and dismayingly deficient in genuine laughs, Ruben Östlund’s new movie is a heavy-handed Euro-satire, without the subtlety and insight of his breakthrough movie Force Majeure, or the power of his comparable Palme-winning spectacle about the art world, The Square.
  27. Let Him Go
    With its handsome, and expensive, period recreation, a wide rural American canvas and an audience-provoking last act, it’s a shame that more of us won’t get to enjoy Let Him Go on the big screen, where it truly belongs. But for those who will, they’re in for a wild ride.
  28. World War Z
    While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.
  29. Maria
    Maria is the most persuasive and seductive of Larraín’s trilogy of great women at bay, after Jackie about Jackie Kennedy, and Spencer about Princess Diana.
  30. Love, Cecil
    The film is intelligent, thorough and sympathetic, with Rupert Everett narrating Beaton’s diaries. But it never quite persuades you that Beaton really deserves to be considered a substantial artist.
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