The Guardian's Scores

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For 6,628 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: 2,512 out of 6628
  2. Mixed: 3,796 out of 6628
  3. Negative: 320 out of 6628
6628 movie reviews
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  1. Babylon
    Babylon is a film that’s thinking big, aiming big, acting big: but feeling medium, and finally ordering us to care about the celluloid magic, a secondary emotional response which should be happening without any explicit instruction. Yet it’s always a pleasure to be in the presence of such black-belt movie stars as Pitt and Robbie and there is something funny in Babylon’s wild, event-movie gigantism.
  2. Barb & Star Go to Vista Del Mar
    It’s a breeze of a watch and with the bar for studio comedy being so very low right now, it’s at least mildly inventive and likably goofy, enough to warrant a cautious recommendation (premium rental price: no, next time you’re on a plane: sure).
  3. Hunted
    Thankfully, we only see glimpses of the footage of tortured women on the hideously believable nemesis’s camera, so ultimately the movie – just about – feels more like a critique of the character’s woman-hating mindset rather than a vehicle for it.
  4. Dr. Bird's Advice for Sad Poets
    The family dysfunction stuff is sensitively handled with some originality.
  5. PVT Chat
    Ben Hozie makes his feature debut with this semi-insightful, uncomfortably funny indie drama about a man who becomes obsessed with an online sex worker. It’s a film with a slackerish mumblecore vibe, and Hozie is refreshingly grown up about sex. But it’s hard to see how his film adds much to the conversation about intimacy in the internet age.
  6. Love Sarah
    There’s nothing to fault in the performances, but the characters are filo pastry thin and slightly bland-tasting – like less complicated, less interesting versions of actual people.
  7. Simple Passion
    Dosch brings a wonderful humanity and sensitivity to the role.
  8. True Mothers
    There is a sustained emotional seriousness in this movie, with committed performances.
  9. Dead Pigs
    Dead Pigs is an unassuming topical entertainment (rather different from the movies of its executive producer Jia Zhangke), but diverting and well-acted.
  10. The Eyes of Tammy Faye
    The Eyes of Tammy Faye’s focus might be all over the place, but our eyes remain trained directly on Chastain.
  11. Nightmare Alley
    It’s [Del Toro’s] most strikingly beautiful film yet, a velvety, precisely styled noir with the year’s most impressively stacked cast (two Oscar winners and six nominees, all bringing their A game) but its sleek shell is sadly as duplicitous as its untrustworthy conman protagonist, blinding us with dazzle but leaving us tricked.
  12. Body Brokers
    Emblazoned with mouthy Big Short-style info-dumps, and with a phone-selling scene reminiscent of The Wolf of Wall Street, Body Brokers outwardly seems to be aiming for high Scorsesian amoral operatics. But given the originality of Swab’s take, it’s a shame he couldn’t find the film a more appropriate style: at heart it is a more sober film intent on declaring its outrage.
  13. Honeydew
    With a running time of 107 minutes, the film goes on just a little longer than it really needs to before it gets predictably violent, grotesque and reasonably scary at last. But Milburn and Kennedy certainly know how to build a unique atmosphere.
  14. Let It Snow
    In all honesty, the path towards the film’s final feeble twist is as discernible as a neon pink jacket on the ski slopes. But Let It Snow is well put together, from the spectacular location work to the strong use of sound to the sort of arresting imagery that recalls the haute body horror of Midsommar.
  15. CODA
    Coda is a mostly likable concoction, but one that’s just too formulaic and ultimately rather calculated to secure the emotional response it so desperately wants by the big finale.
  16. In the Earth
    In a flawed yet fierce return to form, Ben Wheatley has crafted a phantasmagoric treat with In the Earth, an ambitious, atmospheric little woodland horror.
  17. On the Count of Three
    While it’s ultimately a little too messy to work quite as well as it could have, given the interesting and ambitious ingredients, On the Count of Three is proof that Carmichael is a director to be excited about, hoping that perhaps he finds time to write his next script himself.
  18. Prisoners of the Ghostland
    The result is predictably excessive, noisy and more than a little exhausting. But mostly in a fun way, as long as you’re not bothered by gratuitous violence, incoherence and a deep streak of silly.
  19. Those Who Wish Me Dead
    It’s a fierce, muscular piece of work, not a million miles from something like the Coens’ No Country for Old Men.
  20. Pleasure
    Pleasure doesn’t take a doomily disapproving line on porn, and real pornstars and agents are given cameos. Yet neither is it necessarily celebratory or porn-positive. The people in charge are overwhelmingly male and Thyberg shows how the power relations in the business are really the same as they ever were.
  21. Misha and the Wolves
    It’s propulsively watchable if a tad light on reflection. And you may feel hoodwinked by one late reveal.
  22. Shook
    It’s all very 2021, and you can’t help wondering how it will age, but as a launching pad for the director and her cast, it’s a very serviceable platform.
  23. Mafia Inc
    The constant shifting between Italian, English and Québécois-accented French adds an extra texture, and the performances are as sharp as the suits.
    • 50 Metascore
    • 60 Critic Score
    Little Nikita
    The film never really carries out its implied deconstruction of the all-American family, but Poitier and Phoenix form an enjoyable bond. [23 Jun 2007, p.53]
    • The Guardian
    • 62 Metascore
    • 60 Critic Score
    McLintock!
    One of John Wayne's jobbing westerns, a would-be comic transplanting of The Taming Of The Shrew. [08 Aug 2009, p.53]
    • The Guardian
  26. Pelé
    This valedictory film allows sober recognition for all that he did.
  27. Enforcement
    There are plenty of heart-pumping moments, plus a fair few false notes, a couple of implausible coincidences and some exposition-y dialogue spelling out the film’s message, which is about how the two sides see each other.
  28. Hope
    There is something, for me, unrevealing about the drama, and almost sentimental about the final moments. But Hovig and Skarsgård are both very good.
  29. Creation Stories
    A lairy, likable film.
  30. The Fever
    The Fever is a calm and quiet and subtle film, a little inert perhaps, but deeply engaged with the hidden lives of Brazil’s indigenous people. There is poetry in it.
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