The Guardian's Scores

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For 6,594 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: 2,497 out of 6594
  2. Mixed: 3,778 out of 6594
  3. Negative: 319 out of 6594
6594 movie reviews
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  1. In Pursuit of Silence
    The film occasionally hits a rather loud note of passive-aggressive piety, but it is very persuasive.
  2. Transformers: The Last Knight
    The final explosive showdown seems to be competing with Marvel movies for spectacle. But Marvel brings wit and fun. As far as those factors go, the Transformers franchise is in very short supply.
  3. Nobody Speak: Trials of the Free Press
    This documentary is an invigorating, disturbing portrait of the arrogance and sinister self-importance of rich people, bullying politicians and their battalions of lawyers.
  4. The Book of Henry
    In its pure misjudged ickiness, bad-acting ropiness, and its quirksy, smirksy passive-aggressive tweeness, this insidiously terrible film could hardly get any more skin-crawling.
  5. Rough Night
    A fun night will be had, but you’ll have trouble remembering it in the morning.
  6. Viceroy's House
    Viceroy’s House is no very profound work, but it is a nimble and watchable period drama.
  7. The Hippopotamus
    We’re mostly watching Allam scowling at the eccentrics passing through his eyeline – but it’s still a pleasure, and often a joy, to watch the star measuring out and savouring Fry’s rich wordplay like fingers of scotch.
  8. Harmonium
    Although the story unfolds at a steady pace over two hours, the filmmaking is sufficiently elegant and metronomically efficient as to make every minute gripping, especially after the tragic twist halfway through the story.
  9. The Journey
    It’s a strained, dramatically inert and often frankly silly odd-couple bromance fantasy about the Northern Ireland peace process negotiations.
  10. Strange Weather
    Katherine Diekmann’s Strange Weather is a fairly simple melodrama, and one that could use a few reminders that it is better to show not tell. But as a showcase it’s a role that would fuel actors’ dreams.
  11. Beatriz at Dinner
    This isn’t the film we need right now, that’s a meaningless statement, but it’s a film that we deserve to watch, discuss and be grateful for.
  12. The Mummy
    It’s a ragbag of action scenes which needed to be bandaged more tightly.
  13. Letters from Baghdad
    It does serve as a handy summary for those who want a cinematic introduction to Bell’s sprawling, singular story.
  14. Wonder Woman
    It’s plagued by the same problems that dragged down previous visits to the DC movie world: over-earnestness, bludgeoning special effects, and a messy, often wildly implausible plot. What promised to be a glass-ceiling-smashing blockbuster actually looks more like a future camp classic.
  15. The King
    Jarecki uses Elvis Presley’s career and influence to help us make sense of fame, power, corruption, self-destructive behaviour and pretty much all the other ills of the world.
  16. Faces Places
    If there’s a message in Visages, Villages (both to us, and from Varda to her young friend) is that one does not need to be a tortured and nasty person to make great art. She is living and still-working proof.
    • 68 Metascore
    • 60 Critic Score
    Barbara
    Once you settle into your bewilderment, however, Barbara an oddly alluring film that does a double backflip on hokey showbiz-bio convention: not an informative introduction to the singer by any means, but a suitably eccentric evocation of her creative essence.
  18. How to Talk to Girls at Parties
    What an extravagantly muddled, borderline incontinent film this is. You might call it genre-hopping, except that this would imply some degree of intent and control.
  19. Based on a True Story
    This is a movie which begins with confidence and style, wearing its influences pretty insouciantly; the film sashays about the screen with a kind of sexy-chic smirk, like the unvarying facial expression of its co-lead Eva Green. But it wobbles at the brink of plot-holes which undermine the vital realistic plausibility of a film like this.
  20. 24 Frames
    Yes, 24 Frames is rigorously experimental; it demands patience and engagement. But this haunted ghost-film had me completely entranced.
  21. Ismael's Ghosts
    This is an unfinished doodle of a film, a madly self-indulgent jeu d’esprit without substance: a sketch, or jumble of sketches, a ragbag of half-cooked ideas for other movie projects, I suspect, that the director has attempt to salvage and jam together. [Cannes Version]
  22. 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.
  23. 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.
  24. 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.
  25. Godard Mon Amour
    Michel Hazanavicius’s Redoubtable is a reasonably funny, moderately interesting movie, wearing its sprightly colourful pastiche like dry-cleaned retro couture.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.
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