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. Sgt. Stubby: An American Hero
    Stubby’s minimal anthropomorphism makes him a believably doggy sort of dog, whose expressions and behaviour clearly indicate that the animators spent many hours studying the real thing.
  2. Undertow
    What could have been a who’s-sleeping-with-who, tangled-web-we-weave drama quickly evolves into something much more compelling as Nation blurs the line between thriller, psychological drama and character study.
  3. Dog Days
    There’s really not much for the humans to do, other than flash brilliant white smiles, making the film feel like the world’s longest toothpaste advert. And it’s a toothbrush you’ll be reaching for after all so much sugary sentimentality.
  4. Under the Tree
    Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.
  5. Leaning Into the Wind
    A friend who watched this with me said that it’s the kind of film she’d like to see again when she’s dying. That pretty much nails its meditative, melancholy tone and suits the kind of work Goldsworthy does, which is all about the ephemeral and the enduring; time and the tactile qualities of the instant.
  6. The Festival
    Very soon, O’Doherty will be the headline act in comedies like these, but this good-natured crowdpleaser generously lets her steal whole stretches.
    • 74 Metascore
    • 80 Critic Score
    Crazy Rich Asians
    With a premise straight from classic literature and fairytales, Crazy Rich Asians is a transportive romcom about a poor girl who finds her Prince Charming – and is then thrown into the extravagant, glitzy, catty world of the Singapore elite.
  8. Skate Kitchen
    Moselle is at her most astute when concentrating on the fragile social dynamics that govern the tribes adolescents divide themselves into for survival’s sake.
  9. The Meg
    If the shark-versus-Statham bout doesn’t tickle you, the shark-versus-Pekinese sidebar might. Not quite killer, but it’s rare to see a 21st-century blockbuster having this much fun – right through to its sign-off – with its own premise.
  10. The Spy Gone North
    Yoon executes all the classic double-agent set pieces with finesse, and those enamoured of the genre will appreciate a change of setting.
  11. 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.
  12. Like Father
    It’s an undemanding watch, easily digestible while on in the background, but even easier to forget.
  13. Extinction
    Extinction is a competent, if formulaic film. Its dilemma, like many of the films in Netflix’s growing sci-fi catalogue, is the way its best parts are subdued on the small screen while its worst (dialogue and clunky storytelling) are enhanced.
  14. Puzzle
    There is modest craft and genuine heart here, not to mention an eye-catching centrepiece: an actor growing more certain of herself, and more capable than ever of holding an entire picture together – even one as unusual, and sometimes as unlikely, as this.
  15. Cocote
    It is a film with its own miasma of unease.
  16. Detective Dee: The Four Heavenly Kings
    Dee’s investigations are not truly suspenseful, or governed by much hard logic. Without these, what remains is a restless action-comedy with a few nice reversals.
  17. McQueen
    [A] sombre, thorough, intelligent and informative documentary.
  18. Unfriended: Dark Web
    Even if some of the late-stage plotting seems sloppy and increasingly preposterous, there’s a callousness to the brutal last act that, together with the far patchier, yet similarly hard-edged First Purge, feels like a definite product of the time we’re in, as war on terror-era torture porn did in the mid-2000s.
  19. Maquia: When the Promised Flower Blooms
    It is a poignant set-up but, disappointingly, Okada’s ideas about motherhood don’t cut as deep as they could.
  20. The Equalizer 2
    The Equalizer pictures operate under a false moral imperative, using the mission of cleaning up the streets as a cover for the same pat hyper-stylized, near-pornographic brutality.
  21. Mamma Mia! Here We Go Again
    Something in the sheer relentless silliness and uncompromising ridiculousness of this, combined with a new flavour of self-aware comedy, made me smile in spite of myself
  22. Mission: Impossible – Fallout
    Over two-and-a-half hours, you get a lot of deafening bangs for your buck, and the tourist location stunts are impressive - but there isn’t as much humour in the dialogue as before.
  23. Path of Blood
    As a film this is anything but banal, and operates as a potent reminder of the randomness, and casual cruelty of modern terrorism, the way it leeches out the humanity of victims and perpetrators on both sides.
  24. Skyscraper
    This is stupid but it’s also mostly entertaining, thanks to Johnson and a plot that moves fast enough to retain our attention yet without enough, ahem, the originality to ensure it lingers in our minds once the fire has been extinguished.
    • 75 Metascore
    • 60 Critic Score
    Whitney
    It’s a film principally and poignantly focused on the absence of Whitney, an aching void felt as much in life as in death. Many of us missed Whitney even before she left; this imperfect documentary preys calmly and effectively on that longing.
  26. The First Purge
    Clumsy attempts at comedy are weaved in to try and alleviate the remarkable grimness but all it really does it add to an uneven tone.
  27. Fireworks
    It’s confusing and disorientating but brings back dreamy teen angst like the strongest of madeleines.
  28. Tau
    For the impressively moronic dialogue, Oldman brings a lack of imagination so complete that he could plausibly explain this performance away as a high-concept ironic joke.
  29. Calibre
    On a beat-by-beat basis, writer-director Matt Palmer’s feature debut skates close to the edge of cliche – only to swerve suddenly in an interesting new direction almost every time.
  30. Love, Cecil
    The film is intelligent, thorough and sympathetic, with Rupert Everett narrating Beaton’s diaries. But it never quite persuades you that Beaton really deserves to be considered a substantial artist.
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