The Guardian's Scores

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For 6,576 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: 2,493 out of 6576
  2. Mixed: 3,764 out of 6576
  3. Negative: 319 out of 6576
6576 movie reviews
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  1. Pirates of the Caribbean: Dead Men Tell No Tales
    Dead Men Tell No Tales moves at a faster rate of knots than any Pirates film; trouble is, nothing has really been added. It’s the same soggy ride, set to a marginally preferable speed.
  2. Martyrs
    What’s left after the gore is stripped away is a mildly bloody, meatless horror.
  3. Okja
    The pure energy and likability of this film make it such a pleasure.
  4. The Woman Who Left
    It’s a film you have to feel your way into, like a ruined church or a haunted house.
  5. Mindhorn
    There are such great gags, and it is acted with such fanatical gusto by Barratt that it’s impossible not to root for this unlikeliest of heroes.
  6. The Wedding Plan
    The real-time agony of the wedding day itself has an edge-of-the-seat factor, and Kooler gives a sensitive, emotionally generous performance.
  7. Two Women
    It takes time to grow on you, but for me, there is a demure watchability.
  8. Whisky Galore!
    It comes across as twee, comfy-cardigan film-making. And, Eddie Izzard’s best efforts notwithstanding, it simply isn’t very funny.
  9. King Arthur: Legend of the Sword
    Ritchie’s film is at all times over the top, crashing around its digital landscapes in all manner of beserkness, sometimes whooshing along, sometimes stuck in the odd narrative doldrum. But it is often surprisingly entertaining, and whatever clunkers he has delivered in the past, Ritchie again shows that a film-maker of his craft and energy commands attention.
  10. Absolutely Anything
    A huge amount of talent here, including Joanna Lumley and Eddie Izzard. Sadly it goes nowhere.
  11. Alien: Covenant
    The film is very capably made, with forceful, potent performances from Waterston and Fassbender. That franchise title is, however, looking increasingly wrong. It is a bit familiar.
  12. Burden
    If Burden has any fault, it’s that it is overly straight, but perhaps for a subject with which it is so difficult to relate, that is necessary.
  13. Paint It Black
    Like its distraught protagonist, Amber Tamblyn’s Paint It Black is unforgiving, flawed and ferocious.
  14. Baahubali: The Beginning
    Baahubali demonstrates the pleasing, straight-ahead simplicity of certain videogames: whenever our hero accomplishes a task, some new challenge presents itself.
  15. Baahubali 2: The Conclusion
    This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion.
  16. Suntan
    It is superbly directed and shot with great scenes.
  17. Heal the Living
    It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed.
  18. Lady Macbeth
    Cleverly, it gives us enigmatic backstory hints that may or may not help explain the sudden direction change the film takes in its third act, leading to a denouement of toxic ingenuity. And of all it driven by the sensuality and rage of Pugh’s performance.
  19. The Lovers
    Rather like its central relationship, the film is messy and flawed yet painfully familiar.
  20. Rodney King
    The performance is austere and challenging, it takes us through the grim events, their aftermath and the long endgame of King’s life, but without the emollient or lenient notes that a Hollywood treatment might attempt. It is a requiem of a sort, and a sombre indication of all that has not yet healed, or been fixed.
  21. The Circle
    The Circle is all foreplay, playfully prodding without providing a satisfying payoff.
  22. Urban Hymn
    A mixed bag, but one that comes good in its closing stretch, working its way towards a place of quiet power.
  23. Guardians of the Galaxy Vol. 2
    It’s fun, though GOTG2 doesn’t have the same sense of weird urgency and point that the first film had. They’re still guarding, although the galaxy never seems in much danger.
  24. The B-Side: Elsa Dorfman's Portrait Photography
    It’s an endlessly charming film focused on a woman whose view of life is one to be envied.
  25. The Survivalist
    The physical suspense is all but unbearable: a sexualised hunger, fear and need. Fingleton writes and directs with gusto and flair.
  26. Wakefield
    Cranston acts the hell out of the role, like he’s performing Macbeth in a room. Unfortunately his commitment isn’t enough to sell Wakefield as anything more than a hollow character study, with an unappealing tool at its core.
  27. The Happiest Day in the Life of Olli Mäki
    It is a film of immense humanity and charm: the very best kind of date movie.
  28. LA 92
    LA 92’s reliance on news and eyewitness footage leaves it vulnerable to the same limitations as that footage – namely the prioritising of sensationalism over insight.
  29. The Student
    If The Student lacks the searing moral exactness of the Russian literature on which it draws, it’s an often hypnotic warning against dogma’s eternal allure.
  30. Fast Five
    For all its absurdity and the family friendly bloodlessness (despite the copious violence), it spins along very smoothly and efficiently.
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