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. The Bad Guys
    This is Tarantino for ankle-biters with a bit of Ocean’s 11 thrown in: funny, energetic and just smart enough.
  2. The Lost City
    This is all amiable enough, with the all-important dimension of laughs: Tatum and Bullock showing that they are smart enough to know how silly it is, and that they know that we know that they know.
  3. Blue Beetle
    But there’s a perkiness that’s hard to resist and a base-level competency that’s hard not to appreciate, a small beam of blue light in an otherwise dark time for superheroes.
  4. Bigbug
    With his work now migrating online and his jerry-rigged methods increasingly outsourced to post-production effects, Jeunet can’t avoid the impending digitization of cinema, nor life. Still, he’s not going down without landing a few good fingers to the ribs first.
  5. X
    With its unabashed focus on bodies, luring us in with their nudity before hacking them into tiny pieces, the back-to-basics slasher X arrives as a bold rebuke to all things staid and dignified.
  6. Peter von Kant
    There is something lighter, almost flippant and French-farcical about this new Von Kant: a man brought low by l’amour, inviting from the audience hardly more than a worldly, sympathetic shrug.
  7. Against the Ice
    Against the Ice is a Danish story flattened for a global audience.
    • 80 Metascore
    • 60 Critic Score
    Forbidden Planet
    Impressively made though some of the acting lets it down: Robbie's a real scene-stealer. [04 Mar 2006, p.53]
    • The Guardian
  9. Texas Chainsaw Massacre
    Against considerable odds, a very, very low bar has been met and then shuffled over with this mostly effective and incredibly nasty update, a jolting little slasher that should repulse and satisfy those with a suitably depraved idea of what they are clicking into.
  10. Lunana: A Yak in the Classroom
    There is something winning in this calm, walking-pace drama – and the landscape is amazing.
  11. When You Finish Saving the World
    The tricky mother-son relationship is well managed and Moore always brings to this kind of Oedipal drama a seriocomic intensity (as in Tom Kalin’s Savage Grace from 2007, playing opposite Eddie Redmayne).
  12. A Quiet Place: Day One
    It is well made and well acted, with a fervent lead performance from Lupita Nyong’o.
  13. Breaking
    Boyega’s performance has an essential sympathy and dignity that are vital to this drama; an unshowy sense of self-worth that keeps it together.
  14. Cha Cha Real Smooth
    This is a fluent and very watchable work, and Johnson and Burghardt carry it.
  15. Guillermo Del Toro’s Pinocchio
    It certainly has its moments of poignancy and sadness and McGregor’s droll tones as the longsuffering cricket provide some grace notes of fun.
    • The Guardian
      • Posted Nov 29, 2022
  16. Call Jane
    Call Jane never quite rises to the level of a rousing battle cry, but does offer a studious examination of a past that could, terrifyingly, become our future.
  17. Master
    The movie shrewdly creates a shiver of nausea in the institutional use of “diversity” as another prestige-marker.
  18. Thirteen Lives
    [A] decent retelling of an amazing true-life story.
  19. Am I OK?
    Am I OK? is strongest when embedded in the two friends’ well-worn, effusive bond, in sickness or in health – when the fight comes the barbs are believably lacerating, the kind only best friends can wield.
  20. Meet Me in the Bathroom
    The standout star is the passionate and fierce Karen O of Yeah Yeah Yeahs, a Korean-American musician for whom music was an escape from racism and sexism.
  21. Nothing Compares
    Nothing Compares is simply more about the Sinéad you already know. But a critic’s original sin is to review the movie you want to see, not the movie that exists. To that end, with expectations managed, Nothing Compares is a quite engaging document.
  22. Utama
    It’s a gentle and superbly shot film.
  23. The Adam Project
    It’s spectacle coasting on the evergreen draw of time travel paced with beats of occasionally effective human emotion – grief, regret, self-loathing and acceptance in sometimes moving, very manageable amounts.
  24. The Weekend Away
    It’s a thriller by name but less edge-of-your-seat than lounging on the couch, absorbing beats of plot like the ocean tide. A little provocation with slight commitment – that’s not a bad night in by any means.
  25. Cheaper by the Dozen
    Braff and Union have passable chemistry, but Union’s charisma and confidence is magnetic in any context including this one. It’s all breezy – there are no bad actors or malicious intent (other than that one Calabasas woman), so the drama is light and the messes are quickly cleaned up.
  26. Men
    It is an unsubtle and schematic but very well-acted Brit folk-horror pastiche from the writer-director Alex Garland; it feels like a reverse-engineered version of The League of Gentlemen, with the overt comic intention concealed or denied.
  27. Flux Gourmet
    Flux Gourmet is sometimes funny and always exotic, and every moment has his distinctive authorial signature. But I am starting to wonder if his style is becoming a hipster mannerism with less substance, and a less live-ammo sense of actual danger.
  28. Gehraiyaan
    While the lurid twists and turns are enjoyable in a 90s erotic thriller kind of way, the sudden shift towards suspense hampers Padukone’s performance.
  29. Froth
    The threading together of the different stories is overly opaque at times, but Evgeny Rodin’s atmospheric cinematography is a marvel, imbuing a Tarkovsky-esque ethereality to a land that has fallen out of step with the modern world.
  30. Both Sides of the Blade
    Claire Denis’s new film is a seductively indirect love triangle, a drama of the mind as much as the heart. It’s intriguing if contrived and anticlimactic, though acted at the highest pitch of sensual conviction.
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