The Guardian's Scores

Select another publication »
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
view
per page
  1. Turtles All the Way Down
    The successes are in large part owed to Merced’s sensitive, grounded performance, her open face able to pass amusement, anxiety, self-loathing vitriol, panic attack and relief like quicksand. Her performance alone can absorb the film’s rougher edges, vaguer lines and dramatic whiffs, especially when assisted by a strikingly natural Cree.
  2. Star Wars: The Mandalorian and Grogu
    The film is watchable and barrels along capably enough, but perhaps there isn’t enough of the humanity, humour and extravagant space melodrama which has made and continues to make Star Wars lovable.
    • 63 Metascore
    • 60 Critic Score
    The Beach Boys
    Perhaps the last 48 years are omitted for reasons of space. The film would need to be twice as long to cover them, and the second half would feel more like a particularly lurid soap opera than a music documentary. But it seems more likely it’s out of a desire to append a happy ending on to a story that doesn’t really have one.
  4. The Phoenician Scheme
    It is always entertaining, and delivered with the usual conviction and force but with less of the romantic extravagance than we’ve seen before, less of the childlike loneliness that has been detectable in his greatest movies.
  5. Damaged
    Damaged isn’t trying to be a meme, it’s playing things completely straight, and trying to be a serious police procedural in the vein of 90s thrillers such as Se7en or Primal Fear. That sincerity, and the apparent genuine commitment of top-tier performers like Jackson, is what makes this ripely absurd film at least half-worth watching.
  6. A Forgotten Man
    This is a watchable, if somewhat stagey film, and these jump-scare visions, leaping out of the ambassador’s tormented subconscious, might have worked better in the theatre.
  7. Seize Them!
    There’s a mega-helping of daftness, silliness and goofiness in this wacky British comedy of Ye Olden Medieval Dayes from screenwriter Andy Riley and director Curtis Vowell.
    • 72 Metascore
    • 60 Critic Score
    Slow
    Elena and Dovydas’s relationship unfolds at a gentle, unhurried pace, their growing attraction indicated by small details – coy glances, long, loaded pauses between conversation – that reward attentive viewing.
  9. The Second Act
    It’s a sprightly meta gag, a movie about a movie, or perhaps a movie about a movie about a movie – or perhaps just a movie, full stop, whose point is to claim that reality as we experience it inside and outside the cinema is unitary despite the levels of imposture and role-play we bring to it.
  10. The Final: Attack on Wembley
    Attack on Wembley does convincingly convey the ugly, feral atmosphere around the stadium that day.
  11. You're Cordially Invited
    The real win here is watching Witherspoon and Ferrell show off, both unrestrained by a harder rating and a more raucous script than the norm and while their escalation of bad behaviour might not be quite as bad as it could have been, they both make for wonderfully petty antiheroes.
  12. Wild Diamond
    Khebizi gives a heartfelt performance.
  13. The Way, My Way
    The Way, My Way is hardly riveting viewing – but its softly inquisitive, life-affirming spirit is hard to hate.
  14. On Becoming a Guinea Fowl
    While it’s such an intriguing idea, an almost absurdist scrutiny of what avoidance looks like and how families choreograph their collective denial, there is something a little bit contrived in it and, though always engaged, I found myself longing for some outright passion or rage or confrontation.
  15. When the Light Breaks
    The two women’s scenes together give the film its most interesting moments.
  16. Emilia Pérez
    Audiard brings his usual ambition and sweep, energy and attack; although I wondered at certain points if the musical numbers functioned at some level as an alibi, to pre-empt objections about being the film being contrived.
  17. M3GAN 2.0
    It doesn’t always work – a two-hour runtime that’s a little too long, world-saving stakes that are a little too big, funny lines that are a little too not funny – but it’s a mostly watchable second-tier event movie that, in a world of inconsequential sequels that fail to justify their existence, will do.
  18. Flight Risk
    The film is, of course, very silly, but diverting and ingenious, and contains game performances from Wahlberg, Dockery and Grace.
  19. Rumours
    A droll account of the world’s whimpering end.
  20. The Count of Monte Cristo
    The pay-off is a fast-moving, good-looking gallop of Mission: Impossible-style mask play, languorous conniving in courtyards and occasional outbreaks of derring-do that chews up three hours without pausing for quail sandwiches.
  21. The Other Way Around
    Afterwards, everyone smiles reassuringly – then one man pipes up: “Don’t take this the wrong way, but …” and a begins a pretentious intellectual takedown. Like the film it’s a funny-smart moment, witty and grownup.
  22. Wolfs
    The film itself never amounts to much more than a silly, self-satisfied crime caper, but the headline stars look as though they are enjoying themselves and their sense of fun, by and large, is infectious.
  23. The Nature of Love
    The fussy visual style that keeps drawing attention to itself does its best to prevent us from becoming absorbed in this tempestuous romance.
  24. Bugonia
    Yorgos Lanthimos’s macabre and amusing new film has a predictably strong performance from Emma Stone, an intestine-shreddingly clamorous orchestral score from Jerskin Fendrix and, most importantly, a wonderful montage finale – but frankly it’s a very, very long run-up to that big jump.
  25. Lumberjack the Monster
    Like so many Miike films, this is a firework display of strangeness, alienation and nihilism. It’s quite a spectacle.
  26. It Ends with Us
    The life lessons being taught here about self-acceptance, self-love and self-worth might be a little pat and some of the darker elements could have afforded a tad more darkness, but It Ends with Us leads with heart first, everything else later. It’s a film of huge, sometimes hugely unsubtle, emotion but it has an effectively forceful sweep to it.
  27. A Desert
    Director Joshua Erkman’s feature debut manages to deliver an impressively creepy horror exercise that’s also a bit of a send-up of horror conventions.
  28. Faye
    Faye isn’t an exposé. It’s a misty-eyed homage made in collaboration with its subject – and one that relies too heavily on allusion and inference to be truly candid or revelatory.
  29. The Damned
    While it may have more punch as chilly horror-drama than allegory, it’s a decently put together film.
  30. Apocalypse Clown
    Director George Kane keeps the energy up throughout, helped along by a game-for-it cast that know exactly how to pitch the material.
Page:

Top Trailers

See all »
See all trailers »