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. Fantastic Beasts: The Crimes of Grindelwald
    JK Rowling’s creative imagination is as fertile as ever, and newcomers Law and Johnny Depp impress, but the second film in the series is bogged down by franchise detail.
  2. Stan & Ollie
    These are brilliant impersonations, the kind that can only be achieved by exceptionally intelligent actors; the superb technique of both is matched by their obvious love for the originals.
  3. Overlord
    There is something deeply crass about this facetious nonsense, and everyone involved in this film might want to reflect that Nazi medical experimentation during the second world war did in fact happen, under circumstances other than these. It was a very real thing, not just a death-metal horror movie gag.
  4. The Nutcracker and the Four Realms
    I have to admit to being helplessly enchanted – or suckered – for the most part. There’s wit here and The Nutcracker will take you from zero to Christmas jumper in the opening sequence. What’s missing is the melancholy darkness of ETA Hoffmann’s story. Instead, schmaltz-merchant director Lasse Hallström tugs at the heartstrings and ladles on the syrup.
  5. The Girl in the Spider's Web
    It’s watchable enough but let down by a strange lack of interest in presenting Salander as anything but an engine to propel a plot. More female action heroes is by no means a bad thing but forcing Salander into Bond’s shoes feels like a misstep, her intellect and survivalism suited to far more interesting pursuits.
  6. Bohemian Rhapsody
    Bohemian Rhapsody honours Mercury the showman but never really gets to Mercury the person.
  7. Hunter Killer
    Toning down his usual act in a manner that suggests he’s finally read his reviews, Butler gives it handfuls of dramatic ballast, but this vessel has been badly compromised: any interest seeps out by the frame.
  8. Ray & Liz
    The whole film is like an incomplete fragment, intriguing if frustrating.
  9. Fahrenheit 11/9
    The danger of the whole thing collapsing under the weight of its own convolutedness is ever present. That it doesn’t is due to the power of Moore’s closing argument.
  10. Science Fair
    Entirely riveting. It made me nostalgic for the BBC’s Young Scientists of the Year programme, which ran from 1966 to 1981. Can’t we revive it?
  11. An Evening with Beverly Luff Linn
    This is an entirely ridiculous shaggy-dog story, a comedy salted with strangeness and seasoned with surreality.
  12. Goosebumps 2: Haunted Halloween
    The problem lies not strictly with what’s on screen – which on its own, reduced terms is basically watchable and not unlikable – but in what’s been elided or forgotten about in the rush to duplicate the original’s surprise success: any sustained wit or personality.
  13. Touch Me Not
    People will want to make their own minds up about the film, but for me there is something worryingly crass and naive in it.
  14. The Hate U Give
    This is mass-market entertainment with a radical bent, a loudspeaker blast of a teen movie.
  15. A Season in France
    The habitual calm and gentleness of Mahamat Saleh Haroun’s film-making here has a sharp edge and an overtly political point – as well as a flourish of violent destruction and despair that blindsided me.
  16. Been So Long
    Been So Long has a sweet-natured openness. It balances the tough realities of life in the city with the buoyant possibilities of romance isn’t easy, and succeeds a lot of the time. Michaela Coel is tremendous in the leading role.
  17. Nancy
    An interesting and worthwhile drama.
  18. Smallfoot
    The conceit is nicely done, and the film’s unexpectedly heartfelt message about empathy and looking at the world through someone else’s eyes just about makes up for its bland animation, smart-arsed script and generic clappy-blah songs.
  19. MFKZ
    If you’re looking for world building, you’re come to the right place. Yet its architects prove keener to flytip this secondhand imagery than they are to sort through it.
  20. 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.
  21. Widows
    There are so many characters at play here and McQueen and Flynn’s script manages to let them all breathe, giving each actor small defining moments and given the exceptional cast involved, it makes for a richly rewarding experience.
  22. Bad Times at the El Royale
    For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
  23. Mandy
    It’s an uncompromising midnight movie.
  24. Kusama - Infinity
    The film is a respectful and valuable tribute.
  25. Columbus
    Columbus is an engrossing and unexpectedly passionate film, although much of the passion is displaced outwards into a feeling for space, for mass, for building materials. It is a static passion, but not inert.
  26. Private Life
    What an intelligent, emotionally grown-up film. More of this please.
  27. Viking Destiny
    The film dies an agonising death long before it ever reaches Valhalla.
  28. Studio 54
    An entertaining documentary. Maybe the full story of Studio 54 has yet to be told.
    • 69 Metascore
    • 100 Critic Score
    22 July
    Refusing to make Breivik spectacular, the film pays tribute to process, how Norway gave him precisely what he was entitled to so as not to give him what he wanted – scale, martyrdom, glamour.
  30. Tehran Taboo
    The script crackles with such bleak little jokes like this, relieving the tension in a work that could otherwise prove overwhelmingly depressing and borderline melodramatic.
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