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. Between Two Worlds
    Neither of the two worlds of the film’s English title is illuminated clearly enough
  2. Vice Is Broke
    This isn’t meant unkindly, but Vice Is Broke will be essential viewing for anybody who ever worked there, with its details about who had what job title and when.
  3. Bad Tales
    It is a superbly shot, viscerally acted ensemble drama.
  4. To the Stars
    The period trappings – which must have cost a bomb – are lush and smartly deployed without being heavy-handed, and the two young leads are very watchable.
  5. Isn't It Romantic
    In a fun, glossy take down of age-old genre tropes, Rebel Wilson wakes up in an alternate universe, dominated by romantic comedy cliches.
  6. The Columnist
    Ivo van Aart’s movie gives full rein to that desire and is snappily directed – but in the end there is something self-satisfied and sententious about his feminist revenge flick.
  7. Soul Boys of the Western World
    Fans of the band will undoubtedly love the package, which puts the group front and centre. Those who are more agnostic about the music but nostalgic for the period will enjoy the peripheral material.
  8. The Iceman
    As a demonstration of the banality of evil, The Iceman is certainly effective and Shannon's performance gives the film its power.
  9. The Aeronauts
    It is a film with charm and the chemistry between Jones and Redmayne has something rather platonic and even sibling-like, but that isn’t to say there isn’t a spark of sorts.
  10. Little Joe
    None of this is represented in any compelling dramatic style, and the actors – all very talented and assured – have perhaps not had clear enough direction. It is a mood piece. Whose mood leads nowhere.
  11. All Day and a Night
    All Day and a Night is a weightier alternative to the average Netflix original and while imperfectly realised and scrappily plotted at times, it’s another promising sign that, away from the easy-to-digest content, there’s room on the platform for much much more.
  12. Night Always Comes
    Night Always Comes tries to be both seat-edge action thriller and searing social issue drama and while Caron is able to squeeze suspense out of the early, frenetic moments, there’s not enough emotional weight to the more human final act.
  13. Under the Silver Lake
    This film just wades into a murky lake of self-consciousness and sinks inexorably to the bottom.
  14. The Fencer
    The set-up is a bit schmaltzy and the only guesswork is how bitter the bittersweet ending will be, but Haro coaxes strong performances from the cast.
  15. Went Up the Hill
    Things eventually escalate, the pressure valve of pent-up emotions building and releasing. But it’s a long and demanding ride to get there, full of solemn looks and thousand-yard stares.
  16. Finally Dawn
    Not a terribly profound film, but delivered with real brio.
  17. Fast & Furious Presents: Hobbs & Shaw
    Some enjoyable stuff, although a slightly weird deployment of Jim Croce’s bittersweet song Time in a Bottle at the film’s beginning and end – perhaps inspired by its use for Quicksilver’s slo-mo scene in X-Men: Days of Future Past.
  18. Electrick Children
    Rebecca Thomas's gauzy debut about a 15-year-old Mormon who believes she's had an immaculate conception after hearing a cover of Blondie's Hanging on the Telephone is so deftly done it's three parts enchantment to one part irritation.
  19. Smallfoot
    The conceit is nicely done, and the film’s unexpectedly heartfelt message about empathy and looking at the world through someone else’s eyes just about makes up for its bland animation, smart-arsed script and generic clappy-blah songs.
  20. House of Gucci
    In the end, this is Lady Gaga’s film: her watchability suffuses the picture, an arrabbiata sauce of wit, scorn and style.
  21. Being the Ricardos
    An oddity, in which all the characters seem to be avatars for the loquacious Sorkin himself.
  22. Bad Moms
    There aren’t too many weird or original moments in Bad Moms...but Lucas and Moore, who wrote the script for The Hangover, know how to clear the stage for talented performers that can spin gold from next to nothing.
  23. 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
  24. Life of Crime
    It gleams with a faintly-tacky, country club sheen, as if it'd been sheep-dipped in essence of 70s and come out feeling peachy.
    • 59 Metascore
    • 40 Critic Score
    Hateship Loveship
    For most of its length, in fact, the film seems to boil beneath its quiet surface like a Munro tale, and indeed like Joanna herself. Wiig carries this apparently unresolved tension in physical form: a wonderfully mannered performance of short steps and furious scrubbing and standing defensively behind chairs.
  26. This Changes Everything
    A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.
  27. Hippocrates: Diary of a French Doctor
    The result may honour the daily reality of medical professionals – the finale’s a credibly fractious staff meeting – but it makes for a patchy, hesitant dispatch, more “er …” than ER.
  28. Standing Tall
    It is a high-minded, often touching movie which replaces the nihilism and miserabilism often to be found in social realism, and replaces them with a positive vision of what the state can – and can’t – do to help.
  29. Killing Ground
    The elegance of Power’s approach belies the extremities of his blood-splotched, hard-nosed story. Which, as the film escalates conflicts and scampers towards closure, is more than grim – borderline misanthropic, perhaps.
  30. Anthropoid
    Cillian Murphy is excellent as the fiercely committed Josef Gabčík; Jamie Dornan does very well in the slightly more reticent role of his co-conspirator Jan Kubiš. An intelligent, tough, and gripping movie.
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