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 Fantastic Four: First Steps
    Overall a very silly movie – though it’s keeping the superhero genre aloft.
  2. Laal Singh Chaddha
    Assiduously replicating its predecessor’s strengths and weaknesses, the one thing it risks is that a three-word summary – Hindi Forrest Gump – would tell you all you ever needed to know about it.
  3. Burial
    Parker clearly has ideas he’s aiming at, but lets his target slip in the fog of war.
  4. My Best Friend's Exorcism
    My Best Friend’s Exorcism could perhaps do with one or two genuine scares. But for anyone old enough to remember Tiffany and advice columns in teenage girls’ magazines, this is going to deliver a pleasing shot of nostalgia.
  5. Something from Tiffany's
    While Something from Tiffany’s is unlikely to rise to the higher regions of any genre fan’s best-of list (it’s too frothy to even rise to the middle), there’s something engagingly earnest about its relative lack of meta self-awareness and robust attempts to look and feel like the studio meet-cutes so many of us were raised on.
  6. Image of Victory
    A film that tries to empathise with everybody runs the risk of pleasing no one, and no doubt there will be viewers enraged by this or that detail or unspoken perspective, but the ambition is nevertheless pretty impressive and on the whole well executed.
    • 70 Metascore
    • 60 Critic Score
    Late August, Early September
    Assayas uses the same fluent handheld style as Irma Vep, and there's a practised ease with which he draws fine, naturalistic performances from his ensemble. [20 Aug 1999, p.5]
    • The Guardian
  8. Exposing Muybridge
    The most surprising among them being Gary Oldman. The actor, an English emigrant to California like Muybridge himself, makes some acute observations about Muybridge’s style, technique and mien and adds a bit of Hollywood pizzazz to a story that’s crying out for a biopic.
  9. Bliss
    The performance styles of Behrens and Hoya are quite different – Hoya is more opaque – but this is a pointed, candid drama.
  10. LOLA
    Despite beings shaky in terms of tone – as well with its occasionally obtrusive handheld camera movements – Lola impresses with its refreshing blend of analogue and digital flourishes.
  11. I Used to Be Famous
    This schematic but sweet-natured comedy drama drives down a narrative track as straight and comfortingly predictable as an episode of Thomas the Tank Engine.
  12. The Inspection
    It’s in the film’s queerest moments that things feel most inventive, narratively and visually, as Bratton steps most firmly outside of the hemmed-in army drama formula and finds ways to make his film sit and thrive in the Venn diagram between military machismo and homoeroticism.
  13. Dalíland
    The cleverness of Kingsley’s performance is the twinkle in his eye that leaves you wondering whether Dalí has disappeared entirely up his own myth. How much of the eccentricity is a put-on, brazen self-publicity to maximise sales? Disappointingly, the script invents a fictional art school dropout to be our guide to Dalí’s universe.
    • 59 Metascore
    • 60 Critic Score
    Terrifier 2
    Terrifier 2 is not for everyone, but this tasteless wonder meets nauseating expectations.
  15. Hellraiser
    It doesn’t always work, and at times it really really doesn’t, but it feels confident and unfettered in a way that so many horror films don’t these days.
  16. Evil Dead Rise
    Evil Dead Rise is a decent little splatter movie which contains just about enough to justify the franchise resurrection although perhaps not quite enough to demand that much more of it. For all of its gristle, we’re left very little to chew on.
  17. Brahmastra Part One: Shiva
    Mukerji’s biggest achievement is getting this relationship to flourish, Kapoor and Bhatt being among the precious few real-life couples with palpable onscreen chemistry.
  18. Maisie
    At 88, Raven is still performing – perched on a stool – as his alter ego Maisie Trollette. In this affectionate if slight documentary, he tells a story or two, though perhaps not enough to fill a book.
  19. One Way
    Baker, with his scrawny frame and ratty features, can actually act, although he’s consistently upstaged by young Reid, as the stronger performer and the one with the more interesting character story here.
  20. Confess, Fletch
    It’s amiable entertainment, and Hamm may well develop in the character if this becomes a franchise.
  21. Her Way
    Calamy gets to show off her astonishing dynamic range as an actor, adept at comedy, anxiety, maternal rage and kittenish coquetry, all in the space of a single scene.
  22. The Good Nurse
    Perhaps the film could have got under Charlie’s bland surface more. A creepily watchable drama nonetheless.
  23. Summit Fever
    Aided by its physical clout, Summit Fever does hit a kind of rhythm near the end – but last year’s The Summit of the Gods is a more substantial look at this kind of obsession.
  24. Wendell & Wild
    The more characters Selick has to work with, the more room there is for his deliciously strange and comic visual craft.
  25. Enola Holmes 2
    There’s more of the same in Enola Holmes 2, an equally boisterous romp that’s equally as hard to remember once it’s over but one that should keep its many fans engaged enough to warrant further sequels.
  26. The Pale Blue Eye
    As things turn out, this case turns on a rather ridiculous coincidence: but never mind, it’s an entertaining piece of counter-factual noir.
  27. Explorer
    There’s plenty of white-knuckle footage from the archive, as well as reflections of old muckers. Fiennes says that in his darkest, diciest moments in peril he imagined his heroes – the father and grandfather he never met – watching over him.
  28. Kick Out the Jams: The Story of XFM
    The package is all tightly assembled but sticks to the traditional talking heads and archive clips format.
  29. Women Talking
    The film’s rather abstract conversation doesn’t convey much in the way of urgency or specificity. But there is a sustained moral seriousness in Polley’s work, a willingness to confront pain.
    • 73 Metascore
    • 60 Critic Score
    Waterloo Bridge
    Glossy MGM weepie, a tale of loving sacrifice in the first world war to warm the cockles in the dark days of the second. [16 Dec 2006, p.53]
    • The Guardian
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