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. The Monkey
    The deaths here are neither funny nor scary or even gross enough to linger, we’re all rendered unshockable far too soon.
  2. The Best Exotic Marigold Hotel
    It is oddly like an Agatha Christie thriller with all the pasteboard characters, 2D backstories and foreign locale, but no murder.
  3. The Bad Batch
    The film doesn’t quite live up to its creepy, savage opening, or carry through its best ideas.
  4. Rams
    Rams is a lovely, even-tempered drama about men and rural life, gentle but firm of spirit, with a down-to-earth pith and a way of entertainingly and unpretentiously exploring potentially difficult subjects such as masculinity.
  5. Mission to Lars
    The peripheral interviews with the extended Spicer family are as compelling as the central quest; this is a film with rare honesty and nuance in a field that frequently feels queasy.
  6. Interview with the Vampire: The Vampire Chronicles
    Interview With the Vampire is still horribly exciting, shocking and funny.
  7. Never Goin' Back
    Watching Never Goin’ Back, it’s easy to see the frames of reference Frizzell pulled from, besides her own teenage escapades. But the film also defies easy categorization; it’s not consistently funny enough to be a comedy, nor lively enough to be a drama.
  8. Lucy
    The end of the movie goes completely off the rails, but in a way that is charming in its stupidity.
  9. A Million Miles Away
    In the hands of director Alejandra Márquez Abella, it is impossible not to be charmed by this tale of tenacity, commitment and community
  10. Apostle
    Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evans’s latest is a prime specimen.
    • 61 Metascore
    • 70 Critic Score
    The Anderson Tapes
    A clever caper movie. [08 Oct 2011, p.46]
    • The Guardian
  12. 2 Days in New York
    We've rarely seen comedy this smart since Woody Allen and Seinfeld left New York.
  13. How to Train Your Dragon
    The script, the gags and the action remain mostly intact. But this time around, real actors and sets become deadweight to a story that soared in larger-than-life animated form.
  14. Department Q: The Absent One
    An awful number of cliches are being ticked off here (the Fincher-esque lighting, the dogged and socially inept cop), but it’s a diverting potboiler for crime drama completists.
  15. August 32nd on Earth
    Charming and intriguing tale of undeclared love, full of haunting set pieces that stayed in my mind for hours afterwards. [11 June 1999, p.15]
    • The Guardian
  16. All the Bright Places
    Haley, who last directed the sweet and underseen Hearts Beat Loud, gives the film a stronger aesthetic than most Netflix teen offerings, and Fanning and Smith work hard at charming us into submission, but their hard-to-buy relationship isn’t quite the immersive ride-or-die love connection it needs to be, given the melodrama of the last act.
  17. Long Weekend
    A masterpiece in minimalist horror.
    • 61 Metascore
    • 60 Critic Score
    The Day of the Locust
    A tale of the losers and chancers rattling around Hollywood's fringe, the film fatally lacks the black humour and nightmarish edge of Nathanael West's source novel. But there are some good elements swarming through the muddle, not least the performances from Karen Black as a lowly starlet and Donald Sutherland as the emotional wreck who falls under her spell.
  19. Pelé
    This valedictory film allows sober recognition for all that he did.
  20. My Sailor, My Love
    My Sailor, My Love is worth watching for Walker’s excellent portrayal of a woman on the verge of a nervous breakdown and the damage accruing from being the perpetual caretaker of the family.
  21. We Bury the Dead
    In a genre plagued by a lack of effort, I’ll take a solid try.
  22. A Boy Called Christmas
    It feels kid-gloves at times: big-hearted and entertaining, but possibly lacking a little fun or oomph. A lovely warming film, though.
  23. The Boxtrolls
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
  24. Rosaline
    Rosaline . . . understands what makes a good adaptation: a sense of humor at least on par with if not exceeding the original, lighthearted lines with serious delivery, crackling romantic chemistry. And in the case of Rosaline, an unmissable lead in Kaitlyn Dever as a lovelorn medieval schemer left on read.
  25. Good Fortune
    There are noble intentions to Good Fortune, in ways related to both the resurrection of the big-screen comedy and its of-the-moment through-line about the increasingly untenable class divide in America, but also not a lot of laughs, the idea of its existence more appealing than the experience of watching it.
  26. Aniara
    With Aniara, the Swedish writing-directing team Pella Kågerman and Hugo Lilja deliver a cold, cruel, piercingly humane sci-fi parable that’s both bang on the zeitgeist and yet also unnervingly original.
  27. He Named Me Malala
    Guggenheim largely dodges lodging her story within a greater political context; a choice, but a shame, for when he does, the movie gains tension.
  28. WeWork: Or the Making and Breaking of a $47 Billion Unicorn
    Jed Rothstein’s very entertaining documentary is another horror story from the tulip-feverish world of tech startups.
  29. Land
    There’s just not enough here to make it a worthwhile retread through familiar territory, proof of Wright’s basic competency as a director but nothing more.
  30. Headshot
    It’s a very good iteration of the genre, with moody lighting, razor sharp editing and great fight sequences, but be advised that only the strongest of stomachs need apply: it is excessively gory and amoral, even by the standards of such fare.
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