The Guardian's Scores

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For 6,577 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. The Souvenir
    The Souvenir is an artefact in the highest auteur register. Its absence of tonal readability is a challenge. But there is also a cerebrally fierce, slow-burn passion in its austere, unemphasised plainness.
  2. The Report
    The Report is an angry, urgent film that rarely raises its voice, smartly conveying inhumanity and injustice without unnecessary drama. I found it thrilling.
  3. Official Secrets
    Official Secrets is a well-intentioned retelling of a daunting act of courage and as a vehicle for informing more people of who Katharine Gun is, it’s effective, carefully laying out the incremental stakes as well as her noble intentions. Credit for this however lies almost solely with Knightley.
  4. Late Night
    Arguably the film’s biggest problem is that it’s less laugh-out-loud hilarious and more deserving of the odd casual smirk.
  5. The Last Black Man in San Francisco
    It’s a shaggy, wistful film that acts as a heartfelt tribute to both a city and a friendship and when the cutesy quirk that surrounds it is dialled down, we’re able to appreciate the underpinning earnestness.
  6. Knock Down the House
    Knock Down The House is far more effective when it is about the people and the process, not landing quips.
  7. Where's My Roy Cohn?
    What this by-the-numbers approach lacks in artistry it makes up for in an avalanche of facts.
  8. The Farewell
    It’s a slight film at times but one that builds to a crescendo of emotion.
  9. Extremely Wicked, Shockingly Evil and Vile
    It’s a star vehicle that starts and ends with its star, the film around him struggling to justify its existence. Efron is wicked, the film less so.
  10. Alita: Battle Angel
    Alita: Battle Angel is a film with Imax spectacle and big effects. But for all its scale, it might end up being put on for 13-year-olds as a sleepover entertainment. It doesn’t have the grownup, challenging, complicated ideas of Ghost in the Shell. A vanilla dystopian romance.
  11. Escape Room
    A very cinematic spatial impossibility is conjured up by Robitel as he allows the audience to ponder how exactly these rooms are supposed to fit together. The film has a vicious streak of throwaway black comedy.
  12. How to Train Your Dragon: The Hidden World
    All the fire and lifeblood of this idea has been sucked out and we are left with something bland.
  13. Animals
    Its wild nature won’t be to everyone’s taste, but that’s sort of the point. It’s not a film that cares if you find these women charming or likable – it just cares that you believe them.
  14. The Gandhi Murder
    The combination of WTF casting and glaring technical limitation proves so distracting you can barely focus on the script’s new intel.
  15. Green Book
    There’s clearly a more nuanced drama to be made from this story but given the scale, there’s still a lot here to praise.
  16. Can You Ever Forgive Me?
    Sometimes the shagginess of the film can make it feel a bit slight and at times it does work better as a concentrated character study, but it’s such a joy to spend this time with McCarthy, drunkenly scheming and grumbling, that it’s hard to complain.
  17. Blinded by the Light
    There’s something so constructed and suffocating about watching a tried and tested formula not working, the over-sentimental string-pulling on show for all to see.
  18. After the Wedding
    It would be difficult to invest in if not for its two main stars who work hard to elevate the overly engineered plot, filling in the emotional gaps left by the haphazard script.
  19. Velvet Buzzsaw
    Gilroy avoids the ghoulish extremes of Tom Ford’s Nocturnal Animals and offers up a believably pretentious battleground. He’s as invested in crafting a fully fleshed art world as he is in creating a full-on horror film and while the two often blend well, at other times, his concoction is far less effective.
  20. The LEGO Movie 2: The Second Part
    The second Lego Movie is even better than the original: a sophisticated new adventure that gives us a new look at how the universality of the Lego universe was more gendered than we thought.
  21. One Cut of the Dead
    It’s a movie that rescues the tired zombie trope – without insisting on metaphor or satire.
  22. Reign of the Supermen
    If gym buff Henry Cavill really is quitting the role in the movies, as has been rumoured, the film-makers could do worse than to follow the direction here, opening a vacancy for a skinny, long-haired Superman with an earnest hipstery vibe that screams Adam Driver.
  23. The Breaker Upperers
    The Breaker Upperers is Sami and Van Beek’s show through and through. The film coasts off the energy and rapport of this affable pair, whose smart-mouthed performances are full of pep and fizz. What they lack in wit they compensate for with sheer likability.
  24. Second Act
    A truly terrible Working Girl knock-off.
  25. The Mule
    As a drama, it’s frustratingly insubstantial, failing to provide enough of an emotional centre or a convincing payoff.
  26. Destroyer
    Kidman fearlessly commits to the filth of it all, whether it’s drunkenly fighting off her daughter’s sleazy boyfriend or jerking off a bed-ridden informant, but her radical transformation and some timeframe trickery can’t mask a plot that feels rather empty.
  27. On Her Shoulders
    Nadia is shown always surrounded by crowds, almost crushed by them. But her utter loneliness is heartbreaking.
  28. King of Thieves
    The job itself is bafflingly dull.
    • 19 Metascore
    • 20 Critic Score
    Polar
    Each assassination sequence is so ridiculously protracted and inefficiently constructed that it would make a good running gag if the violence wasn’t the one thing the film seemed to take seriously.
  30. Serenity
    The cinema calendar is chockablock with faulty efforts built around perfectly serviceable ideas, but realized without a modicum of distinction. Serenity offers the less-common inverse: a magnificently terrible idea, executed to perfection.
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