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 Want You Back
    It’s a far better version of a romantic comedy than we’re used to streaming of late.
  2. Convergence: Courage in a Crisis
    Even in terms of its attempted emotional cross-section of the pandemic, Convergence spreads its net too wide.
  3. The Spine of Night
    It’s best not to think too hard about it and just let the striking imagery and saturated colours wash over your retinas.
  4. The Tale of King Crab
    What first-time feature directors Alessio Rigo de Righi and Matteo Zoppis seem to be going for here is a Herzogian waking nightmare, but the necessary sense of horror and despair never fully comes off.
  5. Operation Fortune: Ruse de Guerre
    It’s slick in one moment and a little too scrappy the next but Ritchie’s puppyish insistence that you have as much as fun as his stars is hard to resist. The film’s bizarrely reticent rollout might have already killed any chance of further operations but there have been far, far worse franchise-starters in recent years.
  6. Slumber Party Massacre
    It all playfully flirts with horror film conventions, offering up a winking orgy of patently fake gore and irony that’s for the most part pretty fun. At least the cast seem well in on the joke and are clearly having a blast, although the package could have been improved with a fewer sharper one-liners and tauter comic timing.
  7. Sweetheart
    A good-natured love story, doomed to flower and fade in the space of a single holiday, leaving behind the traditional coming-of-age realisation that friends and family are what’s important right now.
  8. Knocking
    The film still feels a tad long for the simple narrative it offers, but moments of visual ingenuity and a deep understanding of psychological suspense show that Kempff is one to watch.
  9. After Blue (Dirty Paradise)
    After Blue is a preposterous film, easy to ridicule. But it’s surely already halfway to cult classic status – destined to play midnight slots, watched by students smuggling bottles of red wine into the cinema under their coats.
    • 62 Metascore
    • 60 Critic Score
    Madame X
    You find yourself admiring Madonna’s desire to focus forward artistically and to recast her music as expressly political, while wondering if the songs from Madame X are really good enough to warrant so much of the spotlight.
  11. Held for Ransom
    This is another film about a white European mixed up in a Middle Eastern war they barely seem to understand, but on its own terms it’s a story well told.
  12. Bull
    There are moments of inspiration that light up this film like flashes of lightning.
  13. The Phantom of the Open
    Rylance is good casting as Maurice: his delicate sing-song voice and sometimes faintly unfocused gaze fit nicely with our hero’s lovably awkward determination, as well as Flitcroft’s sense as a natural comedian that there is something more than a little absurd in the game of golf.
  14. Playlist
    It feels worthwhile – funny and true about growing up and getting a life.
  15. Castle Falls
    Dolph Lundgren and Scott Adkins make a fine odd couple in this meatily satisfying action film – once it gets moving.
  16. The Beatles and India
    Maybe the Indian influence on the Beatles’ music didn’t last, but India’s own prestige, its soft power in the west, was immeasurably enhanced.
    • 49 Metascore
    • 60 Critic Score
    Made in America
    Made in America, from 1993, is essentially an extended episode of a lame, cheesy US sitcom from the late 80s/early 90s – more My Two Dads or Perfect Strangers than Frasier or Seinfeld. It's awesome.
  18. Quant
    It’s an entertaining, uncontroversial film directed by the actor Sadie Frost, who pulls in her celeb mates to do talking-head duties: Vogue editor Edward Enninful, Kinks guitarist Dave Davies, and even interview-shy Kate Moss gives a quote or two.
  19. Dead & Beautiful
    Director David Verbeek’s script doesn’t quite wield the scalpel with enough sadistic glee. Instead, this film feels ever-so-slightly sluggish and dour in places.
  20. Marionette
    A third-act plot twist is audacious enough to regain our attention, but Reuten and Wolf don’t quite have the charisma to fully carry it off.
  21. The Colour Room
    The film catches the excitement of this moment for Clarice, and Dynevor’s performance is wonderful.
  22. Prey
    We didn’t need a Predator prequel (have we ever really needed any prequel?) but Prey is a nimble beast, far nimbler than it could have been and while it’s not quite enough to make us crave more from a franchise that’s already given us too much, it’s enough to justify the journey way back.
  23. The Outfit
    It’s an entertaining, fairly overwrought piece, a little tightly buttoned.
  24. Boxing Day
    Ameen has perfectly plausibly brought off a high-gloss mainstream picture with a big heart and a very nice supporting cast, including Stephen Dillane as Shirley’s new boyfriend. For Ameen, it’s another step on the way to Hollywood stardom.
  25. Even Mice Belong in Heaven
    It’s a shame that after that killer start, this wimps out of saying anything interesting about death or the adventure on the other side.
  26. Betrayed
    It’s a film of desperately upsetting details.
  27. Munich: The Edge of War
    An ingenious, elegant counterfactual drama.
  28. Lapwing
    This is confident, distinctive work.
  29. Pirates
    The film pinballs cheerfully about the place, from crisis to crisis, from losing the tickets to getting back the tickets, with no great narrative purpose other than fun.
  30. Everything Everywhere All at Once
    However dazzling the vortexes this film shoots us through at supersonic speed may be, they still deposit us somewhere we’ve been before.
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