The Guardian's Scores

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For 6,577 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 2.2 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. Game Night
    The Jason Bateman comedy model hasn’t quite been radically altered in Game Night but it’s one of his more entertaining outings. Just don’t count on remembering much of it once the night is over.
  2. Red Sparrow
    It doesn’t entirely work, but there’s something about its full-throttle nastiness that lingers, and it’s refreshing to see something that exists in the studio system that possesses so many queasily perverse elements. It’s just not quite as seductive as it thinks it is.
  3. Isle of Dogs
    There is so much detail in the breakneck race from image to image that Isle of Dogs will reward multiple viewings as much as any Anderson film, visually if not narratively.
  4. Seeing Allred
    This woman, for all her flaws, is clearly a warrior first and foremost.
  5. Fifty Shades Freed
    As usual it’s left entirely up to the beleaguered Johnson to make any of it even remotely watchable. She remains a compelling presence, trying her darnedest with lifeless words, but, again, she’s stranded by the energy-sucking vortex of nothingness that is Jamie Dornan. He’s better than this...but he knows it and his boredom is lazily apparent throughout.
  6. Black Panther
    The intriguing thing about Black Panther is that it doesn’t look like a superhero film – more a wide-eyed fantasy romance: exciting, subversive and funny.
  7. The Cloverfield Paradox
    The Cloverfield Paradox is an unholy mess...As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom. The eerie early scenes fade into standard space horror panic and given how crowded that particular subgenre is, The Cloverfield Paradox emerges as a pale imitation.
  8. Peter Rabbit
    This kids’ animation is altogether lively and funny with just enough soul, even if it comes at the expense of Potter’s sensitivity and delicacy.
  9. Winchester
    A staggeringly pointless supernatural non-chiller featuring some very tiresome jump scares.
    • 53 Metascore
    • 60 Critic Score
    Generation Wealth
    An ambitious essay documentary that is often brilliant but is let down by a parallel focus on Greenfield’s own family and career which becomes too sentimental and stretches the film out beyond its natural length.
  11. The Ritual
    Spall is good casting in the lead: miserable, hangdog, humorous and scared, like a handsomer version of Josh Widdicombe. James-Collier is a fierce screen presence: some film-maker needs to find something more for him to do.
  12. Early Man
    Some of the jokes will need carbon-dating to ascertain their age, but the good-natured humour never loses its fizz.
  13. Maze Runner: The Death Cure
    This is at least concentrated dramatically in being brought to an endpoint. For fans only.
  14. Downsizing
    A less polished director might have become lost and confused along the film’s lengthy running-time. But Payne’s handling is perfect. He never puts a foot wrong, rustling up a picture that is as bright as a button and as sharp as a tack.
  15. Last Flag Flying
    We don’t fully buy into the connection between these men and as a result, we care little about what happens to them. Nothing here feels lived in or real, it’s mere construct.
  16. 12 Strong
    It’s all very easy: a feelgood war tale from what feels like a distant age.
  17. Padmaavat
    While it’s unfolding before us, it provides – whatever else the courts insist we call it – stirring, seductive spectacle.
  18. The Last Family
    Thanks to inventive camerawork, mesmeric performances and incisive yet elliptical editing and storytelling, the claustrophobia becomes a feature instead of a liability.
  19. Don't Worry, He Won't Get Far on Foot
    There are plenty of great moments, but they jump out amid a jumble of strangely flat scenes. This doesn’t feel like the work of a great master; it’s a discordant brew that just doesn’t blend right.
  20. Lover for a Day
    This brief, winsome feature is a typically stylish, if ephemeral piece of work in the classic New Wave manner – almost a time capsule.
  21. Step Sisters
    For all its topicality, Step Sisters is a bit underwhelming, although it makes for entertaining lite fare in the vein of Pitch Perfect or Bring It On, and the choreography is first-rate.
  22. The Banishment
    There is an outstanding film somewhere inside this sprawling mass of ideas, which might have been shaped more exactingly in the edit.
    • 35 Metascore
    • 40 Critic Score
    Proud Mary
    The makers of Proud Mary don’t know what to do with their terrific ensemble cast. Henson may be due for a Taken-style career boost (and Proud Mary may very well be it). But she deserves so much better than this.
  24. The Commuter
    Perhaps you can’t ask too much from a modest, mid-range crowd-pleaser like this, but the experience ends up something like a commuter service itself: you know where it’s going and it gets you there perfectly well, but in a few years’ time you’d be hard pressed to distinguish it from dozens of similar journeys.
  25. Walk with Me
    The film has some startling moments.
  26. Brad's Status
    Brad’s Status is a frustrating concoction. There’s a script full of insight but also inanity and while the performances might jump out, the direction falls flat. Stiller is back on the right route but, like Brad, he could afford to take a more daring detour every now and then.
  27. Bright
    For all its flaws, Bright is still a headlong leap into a bracingly different new world. Cinema could do with more of that.
  28. The Greatest Showman
    It’s not a film to break moulds or test boundaries. Yet Jackman’s real charm will carry you along.
  29. All the Money in the World
    All The Money In The World is not perfect; there is a touch of naïveté and stereotyping in its depiction of the malign Italians with their one, redemptive nice-guy gangster. But with the help of Plummer’s tremendous villain-autocrat performance, Ridley Scott gives us a very entertaining parable about money and what it can’t buy.
  30. Pitch Perfect 3
    So many movies end with trite sentiments about “family” and “sisterhood” but it doesn’t feel forced here. It looks like these performers are genuinely enjoying themselves, and it’s infectious.
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