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. Sachin
    Prolific sports documentarian James Erskine (Pantani, The Battle of the Sexes) here takes on his most ambitious project yet: a study of Sachin Tendulkar – the closest thing Indian cricket has to a living deity – played out over Test session duration to soaring AR Rahman compositions.
  2. Joshua: Teenager vs. Superpower
    Teenager vs Superpower does a solid job of contextualising this larger ideological battle, with talking heads and archive footage, but it’s always clear that the focus here is Wong.
  3. You Were Never Really Here
    It is a movie which teeters perpetually on the verge of hallucination, with hideous images and horrible moments looming suddenly through the fog; its movement is largely inward and downward, into a swamp of suppressed abuse memories which are never entirely pieced together or understood – even as the sickeningly violent action continues.
  4. Godard Mon Amour
    Michel Hazanavicius’s Redoubtable is a reasonably funny, moderately interesting movie, wearing its sprightly colourful pastiche like dry-cleaned retro couture.
  5. Jupiter's Moon
    It is a very odd, singular piece of work: not the visionary masterpiece it assumes itself to be and muddled in its effects and ideas. But certainly bold. It loses altitude yet never becomes earthbound.
  6. Happy End
    It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.
  7. Loveless
    Andrei Zvyagintsev’s Loveless is a stark, mysterious and terrifying story of spiritual catastrophe: a drama with the ostensible form of a procedural crime thriller. It has a hypnotic intensity and unbearable ambiguity which is maintained until the very end.
  8. Let the Sunshine In
    This is grownup film-making, more savoury than sweet, seductive, oblique and carried by a wonderfully smart and emotionally generous performance from Juliette Binoche – who delivers the material superbly, material which from almost anyone else would sound dyspeptic or absurd.
  9. The Rider
    This is a movie using non-professionals playing versions of themselves, and under Zhao’s patient, unintrusive directorial eye they appear to be inhabiting a kind of heightened documentary.
  10. The Merciless
    By the end of this relentless, sprawling and bloody crime opera it may be you who is on your knees, begging for the damn movie to just hurry up and end it.
  11. Rodin
    It is bloated with all the artist cliches, but freighted with mind-blowing dullness and joylessness.
  12. In the Fade
    Fatih Akin’s mediocre revenge drama In the Fade is the TV movie of the week: feebly uncontentious and un-contemporary.
  13. Double Lover
    It’s a wildly dated-looking and derivative film, a quaint adventure in fantasised naughtiness.
  14. A Gentle Creature
    It is gripping and absorbing in its way, although perhaps too conscious of its own metaphorical properties and opinion may divide as to whether its expressionist element works. Yet there is no doubt as to its power, and its severity.
  15. BPM (Beats Per Minute)
    This film has what its title implies: a heartbeat. It is full of cinematic life.
  16. Filmworker
    What shines through most here is the pure sense of pride felt by Vitali, in the trust Kubrick placed in him, and in his part in creating some of the last century’s most monumental pieces of cinema.
  17. The Square
    This movie really brings some gobsmackingly weird and outrageous spectacle, with moments of pure showstopping freakiness. Eventually it loses a bit of focus and misses some narrative targets which have been sacrificed to those admittedly extraordinary set pieces.
    • 70 Metascore
    • 80 Critic Score
    The Here After
    This knotty psychological study is an impressive debut from Poland-based Swedish director Von Horn.
  19. Good Time
    The film has its own kind of mad, migrainey energy and individuality, and Robert Pattinson gives a strong, charismatic performance.
  20. Radiance
    A gentle, thoughtful and reflective movie.
  21. The Day After
    The Day After is an elegant exercise. It feels like a chapter from something bigger.
  22. Blade of the Immortal
    If you are going to see one outlandish and occasionally nauseating bloodbath samurai pic this year, this is the one.
  23. The Florida Project
    While minimal on plot, the film digs in its nails on the day-to-day struggles of poor people in America.
  24. The Killing of a Sacred Deer
    It’s an intriguing, disturbing, amusing twist on something which in many ways could be a conventional horror-thriller from the 1970s or 1980s, or even a bunny-boiler nightmare from the 90s.
  25. The Beguiled
    Coppola tells the story with terrific gusto and insouciant wit, tying together images from the first scene and the last, so that the narrative satisfyingly snaps shut.
  26. The Meyerowitz Stories (New and Selected)
    It’s a comedy that doesn’t really have, or aspire to, any very tragic dimension, but it’s touching. The quirks are underpinned by a heartfelt solidity.
  27. Wonderstruck
    Wonderstruck is sometimes sweet and well-intentioned, but more often indulgent and supercilious.
  28. Hounds of Love
    For horror aficionados it is unmissable. For others, so intense it might be unwatchable.
  29. Baywatch
    By about halfway in, the gags dry up and the story sinks like an overweight tourist who took a dip too early after the all-you-can-eat surf ’n’ turf buffet.
  30. War Machine
    Not funny enough to be satire, not realistic enough to count as political commentary, not exciting enough to work as a war movie, David Michôd’s supposedly Helleresque romp, released on Netflix, is an imperfect non-storm of unsuccess.
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