The Guardian's Scores

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For 6,610 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: 2,503 out of 6610
  2. Mixed: 3,787 out of 6610
  3. Negative: 320 out of 6610
6610 movie reviews
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  1. Elio
    Overall, it’s an entertaining bit of summer fun.
  2. Freud's Last Session
    Not a terribly profound movie, perhaps, but robustly performed and an interesting reminder of the dusty old debates on the point of being swept away by the great horror of the second world war.
  3. Out of Darkness
    Miraculously this film is never silly. The recreation of stone age life feels unexpectedly convincing – partly I suspect, because of the sensible decision to have the actors speak a made-up stone age language instead of English (bolted together, apparently, from bits of Arabic, Basque and Sanskrit).
  4. Starve Acre
    Smith and Clark, at the head of a very capable supporting cast, keep the movie on an even dramatic keel, with intelligent, thought-through performances putting life back into some familiar tropes.
  5. The Fall Guy
    A solid serving of popcorn entertainment.
  6. Showdown at the Grand
    It makes for some fun moments and a funny showdown with the baddies. In the old days this would probably have gone straight to tape, so straight-to-download feels like the right place.
  7. Inside Out 2
    Inside Out 2’s view of growing up has nothing in it as powerful or real as the When She Loved Me song from Toy Story 2 – but there are a lot of entertaining moments, including a great demonstration of what sulky teen sarcasm does to the tectonic plates of your emotional geology.
  8. Ultraman: Rising
    It drags a little in places, despite the appealing animation style, which really comes into its own during the action sequences.
  9. Orion and the Dark
    It is a sweet-natured little tale, indebted to Monsters Inc and the whole Pixar canon but saved from being predictable with other borrowings (Back to the Future, Inception), as well as its various metafictional levels of storytelling.
  10. Peter Doherty: Stranger In My Own Skin
    The fly-on-the-wall camera has had privileged, intimate access, there’s no doubt about it. But it still always looks like a film which is happy to go so far and no further. Perhaps some more detailed, critical analysis of the music itself would also have been welcome.
  11. Eismayer
    The film is a surprisingly gentle, touching story about acceptance, though it is less than sizzling as a romance.
  12. Nosferatu
    It is an interesting new Nosferatu for our age of pandemic fear, with some beautiful images and striking moments, particularly in the eerie moonlit hallucination sequence at the beginning, which makes the rest of the story feel slightly literal and self-conscious.
  13. Teddy's Christmas
    This one has all the Norwegian drama of Yuletide in one tidy package, yes sir.
  14. Fast Charlie
    You’ll spend the next 90 minutes finding out, and for the most part that’s a brisk and painless journey that romps merrily along, powered by its own cliches and memories of better movies, in a way that’s more comfortingly familiar than wearisome.
  15. The Three Musketeers - Part 2: Milady
    It’s still a tremendous spectacle: all four of the musketeers are very attractive characters, particularly the noble and agonised Civil as D’Artagnan.
  16. Our Son
    All the characters are rounded, fallible and likable in equal measure, and even if the score is a bit syrupy, it’s a pleasant, engaging watch.
  17. Race for Glory: Audi vs. Lancia
    Mordini’s film, though, is a handsomely made, stylish-looking piece of cinema, with some beautifully lensed racing scenes and great 1980s wardrobes – but when you sit down to watch something called Race for Glory you do want your heart to beat faster. This can’t quite get away from the lurking sense that it could do with just a little bit more rev in its engine.
  18. Destroy All Neighbors
    At 85 minutes, Destroy All Neighbors gets a little indulgent, and the plot, as William finds his creative mojo in the company of his newly acquired ghoulish ensemble, is throwaway. But it’s a gleeful lo-fi rampage all the same.
  19. The Goldfinger
    Leung Chiu-wai has a predatory glint behind the salesman’s grin, and Lau has the beaten look of a man bested for much of the movie. What’s really missing is a Leung/Lau face off, an epic confrontation.
  20. The American Society of Magical Negroes
    At its best, the film skewers the potentially eye-rolling concept of white fragility with visual panache and wit.
  21. A Tiger in Paradise
    It’s all quite lovely to look at or even just listen to, making for something that can easily be experienced at home while the viewer is knitting or chopping vegetables.
  22. The Archies
    The whole shebang is quite bizarre but sort of works, thanks to the brisk pacing of the editing and the joie de vivre that directors Zoya Akhtar and Ryan Brophy inject into the proceedings.
  23. A Prince
    A Prince might reinterpret the pastoral through a queer lens, but the point of view remains a white, French one.
  24. Civil War
    It’s a strange, violent dream of disorder, drained of ideological meaning.
  25. Which Brings Me to You
    The longer it goes on, the more we find ourselves in therapy-land, in contrast to the zingy, zesty territory in which we began.
  26. IF
    For a film that very much bills itself as a comedy, particularly through the lovable and literally bumbling character of Blue, If is fairly short on actual laughs. Instead, it settles by the end into misty-eyed, mostly earned sweetness, with the evergreen lesson of remembering love and playfulness as you grow up.
  27. Apolonia, Apolonia
    As Sokol’s style matures, Glob’s direction also becomes visibly more assured. The meandering beginning in which the film-maker’s narration does a lot of the heavy lifting soon becomes more stylistically coherent.
  28. American Star
    Director Gonzalo López-Gallego creates a strong frame around the characters in both visual and narrative terms, while a lovely score credited to Remate, mixed with well-chosen soundtrack cuts, creates a limpid poignancy.
  29. Simple Minds: Everything is Possible
    Both Kerr and Burchill come across as unpretentious, down to earth and likable.
  30. Land of Bad
    Despite quality performances from both leading lads, Land of Bad won’t exactly knock anyone’s socks off.
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