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. Materialists
    When the decision is made, the final act has an almost morosely elegiac mood, as it must, as various speeches and set pieces reconcile its rather trudgingly earnest direction of travel with the witty, savvy materialism of the movie’s premise.
  2. The Encampments
    Perhaps the full story of the encampments has yet to be told.
  3. That They May Face the Rising Sun
    Despite its somewhat diffuse centre, Collins’ film still has a straightforward poignancy, with subtle and dignified performances across the board.
  4. Summer of 69
    Actor turned writer-director Jillian Bell’s naked, and sometimes literally naked, attempt to craft a new rewatchable comfort food favourite with notes of both sweet and salt is charming when it works but distractingly effortful when it doesn’t.
  5. The Hermit of Treig
    The film is elevated by the tender rapport between MacKenzie and Smith; when a film-maker is clearly captivated by their subject, the film can compel viewers to fall in love as well.
  6. Project Hail Mary
    This is a Hail Mary pass that Gosling just about manages to catch.
  7. The Running Man
    The Running Man sometimes feels retro-futurist and steampunky, though it is always watchable and buoyant. Wright has hit a confident stride.
  8. Mr. Burton
    Jones certainly shows Mr Burton’s sad and dignified loneliness.
  9. Tornado
    The pure strangeness of the movie commands attention and there is a charismatic lead performance by Japanese actor-musician Mitsuki Kimura, or Kôki.
  10. Abortion Dream Team
    Shot in tight closeup, Domagalska’s documentary brilliantly conveys the unseen psychological toll of this social work. At the same time, the film overflows with the joy of activism.
  11. Nonnas
    Nonnas has a straightforward sincerity that makes it go down easily.
  12. Last Swim
    Last Swim looks slightly callow sometimes, but forthright and likable and Hekmat’s performance has delicacy and intelligence.
  13. Neil Young: Coastal
    It’s always good to witness Young’s authentic acoustic presence.
  14. It Feeds
    It may not stick around in your memory with the persistence demonstrated by the entity towards its victims, but it passes the time chillingly enough.
  15. The Smashing Machine
    The film does not really permit the various emotional crises and issues to supersede the importance of fighting all that much, and the fighting itself is not transformed or transfigured in the drama.
  16. Roofman
    Another, more textured film might have tried to paint him as more than just lovable rogue but Roofman is too focused on making us feel good rather than bad. I would have settled for conflicted.
  17. I Know What You Did Last Summer
    At a time of nostalgia overload (Clueless, Legally Blonde and Urban Legend are next), Robinson finds a way to make her attempt not exactly necessary but unpretentiously pleasurable enough for that not to really matter. There might not be a next summer but this makes for an entertaining last hurrah.
  18. Weapons
    Cregger might be expanding and improving his arsenal, using his skills more effectively than he did in Barbarian, but there’s still something crucial missing. Something sharper.
  19. Bono: Stories of Surrender
    It’s a confident, often engaging mix of music and no-frills theatrical performance, with Bono often coming across like some forgotten character that Samuel Beckett created but then suppressed due to undue levels of rock’n’roll pizzazz.
  20. Salvable
    Even if the skimpy detailing of Sal and Vince’s past leaves the finale verging on sentimentality, rather than fully exposing the self-inflicted wound it’s supposed to be, Salvable’s overall melancholic undertow is hard to resist.
  21. Now You See Me: Now You Don't
    Despite the franchise being nearly old enough for a legacy sequel, there’s a light musicality to its various feats of showmanship that makes it feel like a scrappy upstart. So does the perpetual feeling that it might disappear in a puff of smoke.
  22. Woman and Child
    This is a story about the randomness of life in the big city, a melodramatic convulsion of grief, rage and pain which has a TV soap feel to its succession of escalating crises.
  23. The Chronology of Water
    It borders on cliche a little, but there is compassion and storytelling ambition here.
  24. Colours of Time
    For all that this film is about the revolutionary and disruptive business of art, it takes a pretty un-subversive view of art and artists, compatible with the museum gift shop. But I have to admit, it’s executed with brio and comic gusto – the “past” sections, anyway – and Lindon’s performance has charm.
  25. A Private Life
    Vie Privée canters along to a faintly silly, slightly anticlimactic conclusion and audiences might have been expecting a bigger and more sensational twist. Yet Foster’s natural charisma sells it.
  26. Deep Cover
    There are some laughs and it’s always likable.
  27. The Unholy Trinity
    If following The Unholy Trinity’s various tracks is sometimes frustrating, it’s still rare enough: a red-blooded and essentially satisfying western.
  28. Honey Don't!
    It’s hard to stay mad at a movie for refusing to add things up, or resolve its mysteries in any traditionally satisfying ways, when getting lost with Qualley can be such a pleasure.
  29. The Long Walk
    The result comes across like a cross between a buddy movie and a horror movie – a war movie without the war. Ultimately, it all comes down to the core relationships, so it’s just as well that Hoffman and Jonsson are both terrific; their stars are certain to rise further off the back of this.
  30. Jane Austen Wrecked My Life
    The comedy takes a bit of an IQ dip when the film crosses the Channel and the dialogue switches to English. Still, it glides along on Rutherford’s performance as Agathe – witty, warm, keenly observant, a bit clumsy and Bridget Jones-ish, but never, not even for a moment, cringy.
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