The Guardian's Scores

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For 6,613 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: 2,505 out of 6613
  2. Mixed: 3,788 out of 6613
  3. Negative: 320 out of 6613
6613 movie reviews
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  1. I Never Cry
    This is an enjoyable rollercoaster of absurdities and poignancy, and a marvellous showcase for Stafiej’s talent.
  2. Air Conditioner
    The tech may be on the blink, but this striking debut makes humanity seem like a beautiful malfunction.
  3. Army of Thieves
    There’s nothing markedly necessary about universe expander Army of Thieves, niche fan service that gives backstory to a character who we know dies later on, but Schweighöfer, also acting as director, keeps his frothy caper afloat with a light knockabout tone, never insisting the film as anything that it isn’t.
  4. Phil Liggett: The Voice of Cycling
    This film (and Liggett) is likable and charming enough.
  5. My Name Is Pauli Murray
    This extraordinary story of an extraordinary person is told via bland film-making reminiscent of a public service announcement.
  6. Mona Lisa and the Blood Moon
    Mona Lisa and the Blood Moon offers street-food for the senses, served with lashings of hot sauce. It’s hardly nutritious but it tastes fine in the moment, wolfed down on the run.
  7. Spencer
    This an enjoyably strange spectacle, perhaps best appreciated by taking it less seriously than its creators intended.
  8. The Hand of God
    The Hand of God, no surprise, is Sorrentino’s most nakedly personal film to date, almost to a fault in the way it jettisons the cool distance of The Great Beauty or Il Divo in favour of a sweaty, close-up evocation of youth. It’s a picture only Sorrentino could make. But that doesn’t necessarily make him the safest pair of hands.
  9. The Box
    Vigas’s direction is efficient, pedestrian, entirely built for purpose. But he manages to keep the audience on-board throughout the tale’s twists and turns.
  10. The Offering
    It’s a shame that Durall doesn’t find his torrid and sophisticated story the visual register it deserves, leaving The Offering with a humdrum televisual ambience that’s a bit unsatisfying.
  11. The Alpinist
    The film-makers’ enthusiasm for his clarity of purpose is all well and good, but it does leave the film prone to hyperbole, and perhaps a more measured, sideways look at the weird dropout culture around climbing would have been more interesting.
  12. The Gateway
    With Civetta ably dashing off a couple of desperate kidnap attempts, The Gateway manages to scrabble over the line.
  13. Birds of Paradise
    Birds of Paradise, then, settles into a weird, slightly unsettling middle-ground – beautiful yet hollow, intriguing yet distanced, skillfully performed without much of a beating heart. Like its principal dancers, its a portrait of contrasts, though the friction here doesn’t generate much heat.
  14. Yakuza Princess
    It’s been compiled with enthusiasm, flashes of skill, and a certain devil-may-care cheek – an infusion of newish blood for a Brazilian film industry that’s been badly drained in recent years.
  15. Bleed with Me
    Moses’ story circumnavigates a relationship between two women, one that is charged with an intensity that’s more than platonic but less than erotic, and inflected by an unequal power distribution.
  16. Home Sweet Home Alone
    There’s an admirable sense of pluck to the film, as if those involved know very well they’re making something that doesn’t need to exist but they’re making the most of it anyway.
  17. Zeros and Ones
    This film may stretch your patience to the limit and beyond. It’s minor work – but there is always something there, some restless wounded intelligence, a pugnacious worrying-away at something.
  18. People Just Do Nothing: Big in Japan
    What really redeems the film are the brilliantly observed characters: these are archetypes of modern Britain that nobody really nailed before. Created by the principal actors themselves, they are generally portrayed with affection rather than condescension, and performed so convincingly that a newcomer might well believe they were real people.
  19. The Last Thing Mary Saw
    The trouble with the film is that beneath the surface lurks … well, perhaps not quite enough to keep the momentum going.
  20. Hellbender
    Although made on a tiny budget, this highly original exercise in folk horror punches well above its weight with snappy dialogue, trippy visual effects and impressive camerawork.
  21. Bellbottom
    BellBottom always feels more movie than propaganda – a mission undertaken to offer audiences a good time after the longest and worst time.
  22. The Wonderful: Stories from the Space Station
    This film is a capable, wholesome tribute to a project that is about as warm and fuzzy as space travel gets.
  23. Intrusion
    The streak of perversity at Intrusion’s centre nudges it above the norm, briefly waking us up before we sleepily click on something else.
  24. The Guilty
    Perhaps to overcompensate for the lack of conventionally opened-out dramatic action, there is some big closeup acting from Gyllenhaal, but it’s a well-made and watchable picture of a man in the secular confessional box, a sinner forced to occupy the place of a priest.
  25. Love Hard
    An inoffensive time-filler that’s hard to love but easy to like.
  26. No One Gets Out Alive
    There are imperfections here, especially near the end, but it’s the work of someone striving to stand out, to do something that will linger in the memory rather than fade into the over-populated homepage background.
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