The Guardian's Scores

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For 6,577 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. Yes
    With icy provocation, Israel’s ruling classes are presented as decadent and indifferent to the slaughter and suffering of Gaza. But the film is also in some ways a sympathetic study of a people haunted by the antisemitic butchery of 7 October.
  2. The Wild Robot
    Clever, heartfelt and frequently stunning, The Wild Robot offers the type of all-ages-welcome animated entertainment that will delight kids and leave a lump in one’s throat.
  3. Support the Girls
    Support the Girls is a shrewdly observed, day-in-the-life-style portrait of a woman under pressure. It’s way too early to be thinking about awards season, but Regina Hall could be in line for some silverware.
    • 85 Metascore
    • 90 Critic Score
    The Fabulous Baker Boys
    The film clearly nods to old-school Hollywood and Vegas, but it has a sharp edge that keeps it funny and authentically modern, with Steve Kloves's streetwise and sometimes surprisingly elegiac script summing up the seediness and melancholy of 80s glamour.
  5. Victim
    This gripping thriller, part of the BFI's Bogarde retrospective, daringly smashed through 1961's homosexual taboos, but has weathered best as a study of blackmail and paranoia.
  6. Return to Homs
    Admittedly, there are a lot of documentaries like this, made by citizen journalists recording uprisings in their homelands, but this is one of the best of the recent crop, and a timely reminder of a conflict that's slipped out of the headlines of late.
  7. The Asphalt Jungle
    An early masterclass in the art of the caper movie, John Huston's 1950 thriller stands up wonderfully well, even if we've got used to far more convoluted scheming by movie robbers in the intervening period
  8. Alcarràs
    It is a deeply intelligent, humane drama.
  9. Homebound
    Bring tissues for a doozy of an ending that will have everyone bawling in the aisles.
  10. Hale County This Morning, This Evening
    There is something visionary in this film.
  11. The Taste of Things
    There is charm and delicacy here and Magimel and Binoche perform impeccably, though I wasn’t entirely sure they go together as the ingredients of a love story.
  12. Mudbound
    Mudbound is absorbing: the language, performance and direction all have real sinew.
  13. Passing
    As compelling and as complicated as this fraught friendship might be, Hall’s script can’t quite find a way to take it – and the other pieces of Larsen’s novel – and turn them into something deservedly substantial.
  14. In the Same Breath
    Business as usual has largely resumed in Wuhan, but Wang’s film contends that that’s just the problem. The same apparatuses of messaging and censorship are still in operation, ensuring that the full extent of the malfeasance may never be fully known
  15. Honeyland
    Honeyland really is a miraculous feat, shot over three years as if by invisible camera – not a single furtive glance is directed towards the film-makers.
  16. The Beasts
    The Beasts is a strange film in many ways, difficult to pin down tonally or generically, but it leaves a trail of unease in the mind.
  17. Holy Motors
    Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.
  18. God's Own Country
    This debut feature from Yorkshire-born actor and first-time director Francis Lee is tough, sensual, unsentimental, with excellent lead performances from Josh O’Connor and Alec Secareanu.
    • 85 Metascore
    • 90 Critic Score
    The Wages of Fear (1953)
    The inspired calculation of action and agonised human reaction is irresistible and inescapable. It is a film that leaves the audience shattered and exhausted.
  20. Everybody Wants Some!!
    If the lads were insufferable misogynistic pricks, Everybody Wants Some!! would make for horrible viewing. Thankfully they’re all intensely lovable.
  21. Two Prosecutors
    It is a very disturbing parable of the insidious micro-processes of tyranny.
  22. Behemoth
    What this exceptionally lucid film-survey reveals is what has to go on at ground level, and beneath the surface, in order to power a powerhouse.
  23. The Past
    It is an intricate and often brilliant drama, with restrained and intelligent performances; there is an elegantly patterned mosaic of detail, unexpected plot turns, suspenseful twists and revelations.
    • 85 Metascore
    • 80 Critic Score
    Oasis Knebworth 1996
    The joy of live music is in immediate, fleeting sensation, which doesn’t need to get caught on the hide of history. But that sensation is something Carruthers captured brilliantly in 1996.
  25. Pillion
    It is a real love story, and the movie amusingly and touchingly takes us through the final stages and out the other side.
  26. 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.
  27. One Child Nation
    I would have liked (in a spirit of devil’s advocacy) to hear from an economist about the measurable benefits or otherwise of this brutal approach, and perhaps to ponder the climbing global population. These reservations hardly diminish the film’s force.
    • 85 Metascore
    • 80 Critic Score
    Vengeance Is Mine
    Mysterious, complex and brilliant: the disquieting portrait of a serial killer, seducer and con-man in Japan whose motivation remains an enigma. [9 Sept 2005, p.13]
    • The Guardian
  29. The Sacrifice
    It is brilliant and audacious, with one of the most extraordinary final sequences in modern cinema, and all in a manner which Hollywood in the succeeding decade would learn to call "high concept".
  30. The Wonderful Story of Henry Sugar
    At 37 minutes long, its brevity perhaps exposes or even creates a flimsiness in his signature style that in a longer film would have more space to breathe and parade itself.
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