The Guardian's Scores

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For 6,616 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: 2,508 out of 6616
  2. Mixed: 3,788 out of 6616
  3. Negative: 320 out of 6616
6616 movie reviews
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  1. P!nk: All I Know So Far
    There is little narrative, beyond the Wembley gig approaching; and, more crucially, little conflict, outer or inner.
  2. The Nowhere Inn
    Too hip for its own good, the film ends up going nowhere. Only of interest, perhaps, to hardcore St Vincent and Brownstein fans.
  3. A Perfect Day
    Inconsistency is A Perfect Day’s biggest problem. The script is scalpel sharp in some places, flabby as the well-blocker in others.
  4. Christopher Robin
    For all the expensive honey drizzled over this script, Forster’s film is just unpersuasively weird for an hour, before it tails off in the softest of focuses.
  5. Wonder Woman 1984
    This is an epically long and epically brash film from director and co-writer Patty Jenkins, but Gadot has a queenly self-possession and she imposes her authority on it.
  6. Ophelia
    This film looks absolutely gorgeous, but apart from its production design it is basically a disaster.
  7. Bad Times at the El Royale
    For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
  8. The Choral
    There are moments of creaky comedy and some bluntly emotional dialogue that one can more easily picture in front of a specifically catered-to live audience.
  9. Tomorrowland
    Director Brad Bird deserves praise for packing such big ideas into such an accessible, rip-roaring, retro-futurist adventure.
  10. Point Break
    Point Break is a freaky mix of Dog Day Afternoon and Big Wednesday; bank robbing meets surfing.
  11. Jeannette: The Childhood of Joan of Arc
    One can never quite tell with Dumont if he’s deadly serious about all this or laughing up his sleeve. That’s sort of what makes his work fascinating, although in this instance, viewer patience is severely tested.
  12. Love Is All You Need
    It looks weirdly like a romcom pastiche, not cynical, but not properly inhabited; it doesn't taste of romance or comedy any more than Andy Warhol's Campbell Soup cans taste of soup.
  13. Three Thousand Years of Longing
    It’s a garrulous, yet almost static movie, and weirdly for a film about narrative there is no single overwhelmingly important storyline.
  14. Dark Night
    The noble intention to make us dwell on our culture, and perhaps shame its more voyeuristic members, quickly devolves into a cavalcade of tedium.
  15. Jumbo
    The kooky premise of Jumbo – a young woman falling madly in love with a fairground ride – might invite bafflement but Zoé Wittock’s idiosyncratic comedy-drama is an entertaining blend of sensory overload and sincere empathy.
  16. Over the Moon
    It’s all very spectacular – but nothing much happens in the second half, and back on Earth, the movie’s message about loss and the power of letting go feels over-sweetened, more Disney than Disney.
  17. Sea Fever
    It’s a low-budget effort with high ambitions, something that’s hard not to admire, and while it often feels like the teaser for a bigger and better movie, it’s perhaps a sign that Hardiman is setting sail for Hollywood next.
  18. Orphan
    There is something stolid and at times monotonous about the way this is presented to the audience – as ever with Nemes, the force of gravity is increased, making everything 20% heavier and denser. And Barábas’s performance is frankly actorly rather than real in his incessant frown of righteous resentment. It’s a minor movie from this always interesting film-maker.
  19. Saw X
    When the traps begin, they’re as gnarly as ever, if not gnarlier, and with very little suspense about the outcome given how they tend to end, we’re reminded of what a Saw film is: a juvenile endurance test.
  20. Citadel
    Foy's talent lies in suggesting horror, not delivering it.
  21. Goosebumps
    There’s a streak of old-fashioned B-movie spooky playfulness here, and when actual, motivated characters are on screen it’s delightful.
  22. Magic Farm
    There’s bits of misplaced humor, a firm sense of place and promising performances, but frustratingly little magic to be found here.
  23. An Officer and a Spy
    It’s a solid, well-crafted piece of professional carpentry, like a heavy piece of Victorian furniture; built to last; built to be used. The longer you look at it, the more impressive it grows.
  24. Den of Thieves 2: Pantera
    The technical diligence and conceptual novelty on display during the boost uphold a high standard of excellence, its most inspired sequence played like a nerve-shredding game of red-light-green-light. Believably portraying expertise requires some measure of the same behind the camera, and the attentive, inventive Gudegast can keep pace with his subjects.
  25. Rules Don't Apply
    It doesn’t make sense as a comedy, it doesn’t quite work as a drama, and it doesn’t follow the typical roadmap of a biopic, but Rules Don’t Apply is strangely compelling nonetheless.
  26. Happy, Happy
    Like Kaja (Agnes Kittelsen), the wide-eyed Madame Bovary at its heart, Happy, Happy starts out cartoonish and ends up oddly endearing.
  27. Bill
    This feature is a very funny, if derivative panto-ish romp about the early life of Shakespeare.
  28. The Violators
    It’s flawed by a slightly unconvincing and anticlimactic gun-related ending, but well acted, forthright and confident in the universe it creates.
  29. The Blues Brothers
    The stunts are still awe-inspiring, and there's plenty of laughs. They really were thinking big.
  30. Caveat
    The final endgame is a little unsatisfying, but this is a very interesting debut for McCarthy.
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