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. Miles Ahead
    Cheadle’s got the cred, and the period evocation is tremendous. It’s just that I’m not sure he has all that much to say
  2. Ixcanul
    What’s most striking about Ixcanul is the elegant way in which it is shot. Scenes are given space, and the audience is allowed ample time to soak up the atmosphere.
  3. Junun
    It’s a good, solid little picture, but it’s not that great, and certainly not noticeably more accomplished or compelling than many of the other music-themed docs that come out each week with less fanfare.
  4. Singh Is Bliing
    Director Prabhudheva’s idea of comedy is broad and very much soundtrack-led.
  5. The Treasure
    Laughs emerge from the recognisable micro-horrors found in modern living, which, if the world was run in the way we all agree it should be run, wouldn’t exist.
    • 73 Metascore
    • 40 Critic Score
    (T)error
    This information needs to be shown to the public, and some will be drawn to it regardless of its form. But as a well-crafted film, it has a long way to go.
  7. Knock Knock
    Little here is going to challenge the opinion of Roth as a bratty provocateur, but it’s still fun to experience a latter-day thriller pushing so many buttons in broadly the right order: if Knock Knock’s no more than a sick joke, it’s been very shrewdly constructed.
  8. Goosebumps
    There’s a streak of old-fashioned B-movie spooky playfulness here, and when actual, motivated characters are on screen it’s delightful.
  9. Bridge of Spies
    Bridge of Spies has a brassy and justified confidence in its own narrative flair.
  10. Dragon Ball Z: Resurrection 'F'
    One innovation: the application of thrash metal to fight scenes, which at least hushes the shriller voice artists.
  11. The Measure of a Man
    The Measure of a Man’s decision to keep its conflicts so microscopic in the service of realism is a real problem. Put bluntly, Brize’s touch is so light that it’s immeasurable.
  12. Sherpa
    Peedom and her team responded to disaster with a steady hand, in more than one sense, and fulfilled a rare opportunity to make a responsive documentary that is large, beautiful, captivating and exhibits deep respect for the people and environments it photographs.
  13. Hitchcock/Truffaut
    A fascinating film.
  14. Narcopolis
    Despite the surface sheen, and some enterprising plot twists, it doesn’t entirely convince.
  15. Going Away
    Director Nicole Garcia strains to give this pablum social grounding, but hair and make-up overtake her.
  16. De Palma
    So many documentaries about artists just want you to accept that their subject is an innovator. De Palma breaks it down and shows you why he is.
  17. Deathgasm
    A dopey splatterfest that features one-dimensional characters and a draggy first act that’s eventually won over by creatively immature gross-outs and absurd violence.
  18. Nostalgia for the Light
    It is deeply intelligent, intensely and painfully political, and yet attempts, and succeeds, somehow to transcend politics and perhaps even history itself.
  19. Northern Soul
    Every other scene showcases a northern treasure (Coogan, Thomson, Tomlinson, Stansfield) and looks, feels and – crucially – sounds true to its sweaty-hazy, slightly cramped corner of history.
  20. Labyrinth of Lies
    While the topic of mass delusion is fascinating, this film is too unfocused to turn it into compelling drama.
  21. This Changes Everything
    A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.
  22. The Walk
    The story The Walk tells is, admittedly, an unbelievable one, so it’s understandable Zemeckis should choose to leave subtlety at the door. Sadly, such an approach strips the film of tension, especially at the crucial moment.
  23. Life
    Pattinson gives what is simply a dull performance in a dull role: something in the casting and conception is wrong from the outset. Maybe he would have been better as Dean.
  24. Captive
    The actors are committed – Mara, generally waif-like, appears frail indeed – but there’s barely anything worth committing to.
  25. Palio
    It is a handsome-looking film, though it has a promo look to it occasionally, like a lavish tourist ad. I loved the horse’s-eye view Spender gave us at one stage, careering around the track.
  26. Hotel Transylvania 2
    By the end of this 89-minute film, I was absolutely on the edge of my seat. Not due to suspense, but due to my utter disdain for the infantile plotting.
  27. The Green Inferno
    The Green Inferno will be gleefully offensive and unpalatable to mainstream audiences, who may be more similar to The Green Inferno’s victims than they’d like to think. No one could accuse Roth of lacking guts – even if he hasn’t found the perfect recipe for them.
  28. The Reflektor Tapes
    It’s flabby and repetitive, but peppered with moments of exquisite sonic lusciousness – not unlike the album itself.
  29. Mustang
    While the subject matter is enraging, the film is not without warmth and occasional levity.
    • 63 Metascore
    • 80 Critic Score
    Brand: A Second Coming
    Even if you’re cynical about Brand’s motives, or just think that he’s a bit of berk, the film convinces you of the almost alarming sincerity of his political mission.
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