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. Black Bag
    Steven Soderbergh’s downbeat, affectless tongue-in-cheek spy comedy (“caper” isn’t quite right) is in this new mode, though taking itself to the edge of self-satire, with a few 007 refugees in the cast, efficiently scripted by David Koepp.
  2. The Thicket
    It is an odd, mostly compelling yarn, and acted with gusto and shot with real physical commitment to the wide open spaces and raw chill of the elements.
  3. Saving Bikini Bottom: The Sandy Cheeks Movie
    It’s all manically enjoyable, especially for the core demographic (my seven-year-old niece said she would give the film four stars). For general viewers, it may not pack as much of an emotional punch, but like SpongeBob himself, it’s thoroughly absorbing.
  4. Transformers One
    Breezy, comically self-referential and totally likable. But its charms nevertheless feel like they came off an assembly line – one that has been engineered to deliver Marvel-like results, in animated form of course.
  5. The 4:30 Movie
    By far the best thing in the film is Ken Jeong as the theatre manager, preening and ridiculous, dispensing putdowns with surgically precise comic timing.
  6. Elizabeth Taylor: The Lost Tapes
    However partial, though, and however little new material it has to offer, even for the amateur fan like me, the film remains a heady treat. Because it is about Elizabeth Taylor. They don’t make them like they used to – and they probably never will again.
  7. Twilight of the Warriors: Walled In
    Much of that war is waged with a combination of fists, feet, blades and assorted ironmongery; people are routinely hurled through walls, thrown off rooftops and otherwise beaten to a pulp, and the athleticism and fight choreography is impressive, even if the action is edited so frenetically that it’s almost impossible to follow.
  8. And Mrs
    The upside to casting Bea in a comedy is that she’s an absolute hoot. When Hollywood stars play ordinary civilians, there’s often a slumming-it quality to their performances, but Bea is funny and real, sarky and very likable as Gemma, who’s feeling guilty after Nathan dies.
  9. The Silent Hour
    The moral maths seem calculated in advance to ensure a by-numbers outcome, but it’s an absorbing puzzle while it lasts.
  10. Caligula: The Ultimate Cut
    It all makes for something startling, amusing and bizarre.
  11. Freakier Friday
    It’s Curtis who embodies the story’s wacky spirit.
  12. William Tell
    It’s entirely ridiculous, but performed with absolute seriousness and the result is an innocent amusement.
  13. The Dead Thing
    Hunt, though, gives an excellent performance in the lead role, agilely running the gamut from deadened admin serf and hipster-bar dating veteran, to infatuated young lover, to abuse victim. She brings emotional suppleness and complexity to what is – despite some flaws – a bold and stylish take on the endless samsara of digital romance.
  14. Pimpinero: Blood and Oil
    Strangely, this film keeps to the speed limit; it’s like Formula One with enhanced health and safety, slow-paced and a little low on adrenaline.
  15. Unstoppable
    Robles isn’t hard to root for but Unstoppable, a rousing yet overdone biopic, tries too hard to get us there anyway.
  16. By the Stream
    In its engaging and eccentric way, Hong’s film-making is diverting and intriguing and then it capriciously concludes, leaving things up in the air, yet without making you feel shortchanged. Perhaps this one is slighter than his recent work, but it has a comic charm.
  17. My First Film
    You can’t help but admire Anger’s audacity, sly humour and film-making chops.
  18. The Mountain Within Me
    And in terms of docs about people with disabilities, this one is pretty honest about the mental anguish of losing mobility and – in a sideways fashion – addresses how such a change particularly affects men like Ed and Ben, hyper-masculine dudes whose identities are tied to their physical abilities.
  19. Sonic the Hedgehog 3
    Carrey, though, is very good value, getting off a couple of lines that might actually make grownups laugh, and generally putting himself about to decent effect. Without him, this film could have been a lot, lot worse.
  20. Finding Emily
    Finding Emily shares DNA with Richard Curtis’s comedies – the same warm heart and charm, plus levels of cheesiness that some may find cringe. In the end I found it impossible to hate, though one or two performances felt a bit lacking in comic flair.
  21. Betrayal
    The suspense-building and denouement are adequate enough, but what makes this more interesting is how director Rodger Griffiths weaves in a subtle dissection of how abuse can damage families in different ways.
  22. The Last Showgirl
    It is a strong turn from Anderson, though, whose fans are entitled to wonder if it is she, and not Demi Moore, who deserves this year’s “comeback queen” crown.
  23. Elton John: Never Too Late
    There is, as ever, pleasure and awe in hearing his great songs.
    • 77 Metascore
    • 60 Critic Score
    Road Diary: Bruce Springsteen and the E Street Band
    Zimny’s film-making style is certainly less adventurous, but his weaving of archive footage is deftly done – it’s fun to see the terrible sleeping arrangements on early E Street Band outings – and you’re left with the sense that this is a unit of people for whom rocking out and blowing minds is an irresistible lifetime pursuit.
  25. The Friend
    It can be borderline maudlin and easily teary, though The Friend is grounded enough, and Watts sufficiently understated, to not become outright eye-rolling.
  26. 40 Acres
    Deadwyler’s performance is the driving force here. Without her, the audience’s attention might drift to the predictability of a plotline that hinges on Manny’s adolescent rebellion against his mum.
  27. All of You
    It’s a calm, crisply made film (one can again see how it matches the Apple aesthetic) but one about heartache and tumult, and I found myself craving something that felt as difficult and stinging as the feelings it was trying to stir up.
  28. Kill the Jockey
    It’s too skimpy and self-conscious, more a series of gestures than an organic whole. But Ortega frames his action with a delicious high style, interspersing tense standoffs with formal dance sequences. He gives the impression that all his characters are locked in a bizarre hothouse romance, even when they are chasing or attempting to kill one another.
  29. The Order
    The fight against fascism is a serious business, now more than ever, and it is right that Kurzel treats it seriously, but this means his movie feels constrained tonally and the finale is weirdly protracted and even anticlimactic. Yet The Order maintains a drumbeat of tension to the last.
  30. Night Courier
    I didn’t feel the movie maintained the dramatic tension enough to work as a lean thriller, but as a portrait of a toxic man who thinks he could be a contender it’s funny and disturbing, with an impressive lead performance by Aldokhei.
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