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. White Building
    This is a gentle-going watch, understated – underpowered even – and sometimes a little drowsy. Still, it has real sensitivity and insight into the transition to adulthood, as gradually it dawns on Nang that his parents don’t have all the answers.
  2. The Menu
    It is well-acted and well directed by Mylod with tasty side plates of droll humour.
  3. Devotion
    Training its crosshair on the ingrained prejudice of the military and the question of how well-meaning white allies can best support its undoing, the film compensates for relatively middling action set pieces with a stolid maturity.
  4. Interceptor
    While it’s not going to make a star of Pataky or anyone watching a sudden convert to Netflix’s mockbuster oeuvre, it’ll make for a decent summer snack until something better lands.
  5. Bardo, False Chronicle of a Handful of Truths
    It is made with real panache – so much panache, in fact, that you can forgive much of the film’s outrageous narcissism. Iñárritu could, if he chose, tell us an equally painful but less grandiose and auto-mythic story about his own life – but he has exercised his prerogative as an artist and given us this confection instead. It is certainly spectacular.
  6. FLINT: Who Can You Trust?
    Overall, this documentary is an exercise in frustration – especially during the rushed final half hour, in which we dart about all over the place.
  7. The Righteous
    Sure, this is a talky movie, big on debates and low on action, and may feel somewhat theatrical – but that’s not necessarily a bad thing, especially when the performances are this subtle, expressive and electric.
  8. The Sanctity of Space
    While the juxtaposition of different timelines results in occasional clunkiness, the breathtaking cinematography more than makes up for the uneven telling. In the face of global climate change, these images of the glacial otherworldliness of Alaska carry a wistful splendour and a bittersweet urgency.
  9. Mr. Malcolm's List
    Mr Malcolm’s List has no great ambitions other than to amuse. But that is always harder than it looks.
  10. 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.
  11. The Sadness
    The recurring dependence on sexual violence as a shock tactic is, however, a desensitising misstep. Nevertheless the assured command of style situates Jabbaz as an impressive new voice in horror cinema.
  12. God's Creatures
    It is a tough story, told with conviction.
  13. Holy Spider
    Abbasi undoubtedly conveys the brutal attitudes which create victimhood.
  14. Showing Up
    Everything in Showing Up is certainly valid, but I confess I thought it lacked some perspective on Lizzie’s life, and it is sometimes a bit studied and passionless, especially compared with Reichardt’s previous film, First Cow. But there is sympathy and charm and food for thought.
  15. Stars at Noon
    This film touches on her keynote themes of sexuality and colonialism, in its 21st-century manifestation, though maybe the romantic passion and duplicity don’t come across as strongly as they might have done with leads who had a stronger chemistry.
  16. Final Cut
    The result is something appreciably sillier and more eccentric than the original ... It’s certainly far from the sophistication and gloss for which Hazanavicius became famous ten years ago with his silent pastiche The Artist; it’s closer to his spy spoof series OSS 117. But it’s likeable and goofy.
  17. Tchaikovsky's Wife
    This is undoubtedly a vehement and very watchable drama – far superior to Serebrennikov’s previous film, the sprawling and unrewarding Petrov’s Flu. If there is a narrowness in its emotional and tonal range, that gives it force.
  18. Disenchanted
    At a baggy, over-stretched two hours, its welcome is close to being overstayed, but there’s just about enough charm to keep Disenchanted from living up to its title.
  19. Cordelia
    Perhaps this film doesn’t entirely work all the way through, but it is a shard of malevolence that jabs into your skin.
  20. Digger
    It’s a shame that, as it ramps up, this generational tension isn’t dramatised with the sharpness it might have been.
  21. Cocoon
    The film conforms to the coming-of-age template in that romance is followed or superseded by friendship and maturing personal growth. Urzendowsky keeps it all together.
  22. R.M.N.
    RMN is a sombre downbeat movie, whose sudden flurry of dreamlike visions at the very end is a little disconcerting. But it is seriously engaged with the dysfunction and unhappiness in Europe that goes unreported and unacknowledged.
  23. M3GAN
    A entertainingly nasty film for the new year.
  24. Beast
    August might be a washout so far for the industry but Beast couldn’t be arriving at a more apt time, a thrilling, if throwaway, reminder of the fun to be had while watching a B-movie bringing its A-game.
  25. Rubikon
    While the ensuing sense of despair that overwhelms the drama is credible, it does bring with it a certain sense of torpor that makes the film a bit of a grind in the midsection.
  26. EO
    I’m not sure this is my favourite Skolimowski film, but it is engaging in many ways: beautifully photographed, sentimental and surreal in equal measure; and also stubborn – as stubborn as its hero – in its symbolism and stark pessimism.
  27. Tori and Lokita
    There is a simplicity and clarity of purpose here that I responded to and the Dardennes have got excellent performances from their young leads.
  28. Moon, 66 Questions
    Kokkali persuasively enacts both the emotional hurt and emotional healing.
  29. 18½
    It’s entertaining enough and you never know where the story is headed, but it doesn’t quite hold together.
  30. Pinocchio
    The film is competently crafted, dutifully acted, clearly labored over with soul, and yet, like its star, lacks a beating heart.
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