The Guardian's Scores

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For 6,594 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: 2,497 out of 6594
  2. Mixed: 3,778 out of 6594
  3. Negative: 319 out of 6594
6594 movie reviews
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  1. Breakthrough
    It is presented with no mystery and scant wonder; instead, we get two hours of flatly professional procedural.
  2. 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.
  3. 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.
  4. Rocketman
    Rocketman is an honest, heartfelt tribute to Elton John’s music and his public image. But the man itself eluded it.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. The Hustle
    Anne Hathaway detonates a megaton blast of pure unfunniness in this terrifying film.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
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