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. An Elephant Sitting Still
    Hu provides no easy resolutions, and evidently found none himself. This epic of futility will have to stand as an epitaph for an extremely promising career cut short.
  2. The Aftermath
    It is more of a holiday romance and the well-intentioned performances lead nowhere.
  3. Varda by Agnès
    Two hours in this director’s company is a pleasure.
  4. Piranhas
    Giovannesi’s movie is watchable enough, but often looks like a smoothed-out, planed-down version of Garrone’s Gomorrah: Gomorrah without the rough edges, like a classy television version.
  5. Instant Family
    Instant Family retains the obvious appeal of watching basically nice people attempt a fundamentally decent thing for a few hours. The shamelessly optimistic finale may even leave you with something in your eye, dammit.
  6. Piercing
    It all works pretty well until the abrupt ending lets all the air out of the balloon. The dream-team pairing of Abbott and Wasikowska, two of the most interesting, subtle and risk-loving performers of their generation, is a huge compensation.
  7. The Operative
    Audiences may come to this film expecting the conventional pleasures of a spy thriller – excitement, tension, suspense – along with the additional values associated with the very best of the genre: character nuance, emotional complexity, plausible human dilemma. The Operative utterly defeats all of these hopes, chiefly in being at all times extremely boring.
  8. Mr. Jones
    Mr Jones is a bold and heartfelt movie with a real Lean-ian sweep.
  9. The Kindness of Strangers
    The Kindness of Strangers is one of those terrible ideas for a film: ensemble dramas that are superficially attractive because of all the big names shoehorned into the cast-list.
  10. I Was at Home, But
    The movie is not without interest, but I found it mannered, derivative and opaque.
  11. Gully Boy
    In the end, Gully Boy runs on very traditional lines, and maybe comes too close to cliche, but is always engagingly dead set on entertainment.
  12. The Golden Glove
    Apart from its grisliness, its hopelessness, and its pointlessness, what strikes you most about this true-crime movie is its brownness.
  13. God Exists, Her Name Is Petrunija
    What begins as a sprightly, shrewd, visually striking satire from Macedonian director Teona Strugar Mitevska deflates in its second act into something unconvincing, sophomoric and dramatically redundant.
  14. Elisa & Marcela
    Writer-director Isabel Coixet has taken a real-life love story from 20th-century LGBT Spanish history and turned it into something bafflingly passionless, joyless and excessively tasteful, an anti-alchemy assisted by stately monochrome photography that makes every frame look like a postcard from an art shop.
    • 76 Metascore
    • 70 Critic Score
    TT3D: Closer to the Edge
    The speeds on such narrow, winding public roads are hair-raising and superbly photographed, the crashes spectacular and the riders far more likable than anyone involved in Formula One. Particularly engaging is the zanily amusing, leathered lunatic Guy Martin, a Lincolnshire lorry repair mechanic by day.
  16. Patrick
    It’s a film jam-packed with very good actors and big names, and suffused with a puppyish willingness to please. But where is the bite?
  17. The Kid Who Would Be King
    None of the young stars shine as John Boyega did in ATB, but this movie is sentimental in all the right places, and impossible to dislike.
  18. Watergate
    In the course of a mammoth, horribly absorbing four-hour film from Charles Ferguson we are immersed in a world of milky TV news footage, big lapels, bulbous combovers, dirty tricks, sweat, jowls and guilt.
  19. Monos
    An arrestingly bizarre experience.
  20. A Private War
    The film’s relative failure to engage with the more quotidian details of Colvin’s behind-the-scenes existence is a shame, because it is here that some real clues to her personality might have been found.
  21. Mektoub, My Love: Canto Uno
    It spends its time among unfeasibly beautiful young people in microscopically tiny swimming costumes, and moves with them in a trance of heightened physicality, drifting across beaches, bars and dancefloors. The mood is dreamy unseriousness qualified occasionally by temporary stabs of jealousy or misery. The sexiness isn’t promiscuous exactly; more directionless.
  22. Happy Death Day 2U
    An inevitable yet staggeringly unnecessary follow-up to the surprise horror hit turns a nifty concept into an exhaustingly convoluted mess.
  23. Isn't It Romantic
    In a fun, glossy take down of age-old genre tropes, Rebel Wilson wakes up in an alternate universe, dominated by romantic comedy cliches.
  24. High Flying Bird
    In picking at a system until it’s threaded, High Flying Bird is a classic Soderbergh construct.
  25. If Beale Street Could Talk
    It’s a film with love at its root, both familial and romantic, and Jenkins fills so much of it with a radiating warmth.
  26. Boy Erased
    It’s a curiously underwhelming, muted, often plodding two hours that fails to reach the emotional highs and devastating lows one would expect from the material.
  27. Ek Ladki Ko Dekha Toh Aisa Laga
    After India decriminalised homosexuality last September, many wondered anew: what would a Bollywood romcom look and sound like with a non-straight protagonist? The answer, it transpires, is: much the same as any other Bollywood romcom.
  28. Native Son
    It’s a fiery, flawed, often stunningly made film that provokes uncomfortable discussion, rather like the Richard Wright novel it was based on, although purists might argue over some key changes.
  29. Wounds
    The performers are left with very little to work with and while Hammer does find away of making the most of his haunted alcoholic, Johnson and Zazie Beetz, two wonderful actors, are stranded with hopelessly one-dimensional roles.
  30. Them That Follow
    It’s competently made but utterly vacant, a forgettable indie fading fast.
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