The Guardian's Scores

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For 6,594 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: 2,497 out of 6594
  2. Mixed: 3,778 out of 6594
  3. Negative: 319 out of 6594
6594 movie reviews
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  1. The Sound and the Fury
    So bogged down by form, Franco fails to get his head up enough to think about content.
  2. A Royal Night Out
    It’s a thin, trickledown sort of fun.
  3. The Girl on the Train
    The complicated web of narrator-switches, flashbacks and POV-shifts seems clotted and Emily Blunt – usually so witty and stylish – is landed with a whingy, relentlessly weepy role in which her nose hardly ever resumes its natural colour.
  4. In the Basement
    With In The Basement, [Seidl] seems to falling back on the same old shocks. The freakiness is losing its capacity to disturb.
  5. Allied
    Director Robert Zemeckis is usually known for his zestiness and zippiness; but this is arduous. Screenwriter Steven Knight scripted smart movies such as Locke, Dirty Pretty Things and Eastern Promises, and there are some nice touches, but it resembles an unconvincing and sluggish pastiche of a war movie.
  6. Tamasha
    Tamasha keeps shapeshifting, in ways both intriguing and self-defeating.
  7. MI-5
    Too often it’s just silly.
  8. The Girl King
    This plumply preposterous film from director Mika Kaurismäki (brother of Aki) is an unconvincing and solemn account of the controversially mannish Queen Kristina and her secret sapphic yearnings in 17th-century Sweden.
  9. Kubo and the Two Strings
    Little kids will be bored, as there are only a few scenes with any action, and of those, only one, featuring an enormous skeleton with swords sticking out of its skull, has any oomph.
  10. Martyrs
    What’s left after the gore is stripped away is a mildly bloody, meatless horror.
  11. Keanu
    If there was a strong enough story to latch the jokes on to, Keanu might have worked. As it stands, it reeks of a grossly underdeveloped sketch extended to feature length.
  12. Desierto
    While engaging, this Desierto is a little dry.
  13. Dark Night
    The noble intention to make us dwell on our culture, and perhaps shame its more voyeuristic members, quickly devolves into a cavalcade of tedium.
  14. The Hollars
    A mawkish family comedy, intent to please, The Hollars plays like an extended sitcom.
  15. The Intervention
    Unfortunately a slack screenplay and lack of focus holds the project back from being anything more than an actors’ showcase.
  16. The Lovers and the Despot
    It’s one hell of a yarn, which makes The Lovers and the Despot’s strangely soporific style something of a disappointment.
  17. Five Nights in Maine
    Her two exceptional stars do their best to convey their animosity via simmering glances. But in the end, Curran’s muted approach does them no favors. Instead of being boldly subtle, Five Nights in Maine just comes off as evasive.
  18. A Hologram for the King
    Tom Tykwer’s adaptation is a meandering mess of half-baked storylines that amount to little. Hanks’s affable presence keeps it all afloat.
  19. The Darkness
    Bacon, Mitchell and especially young Lucy Fry are all quite effective in these dramatic scenes. But this isn’t a drama. It’s a dumbass, inexpensive horror flick which means anything real is thrown away so that poorly rendered CG ghosts can hover about and smash up windows.
  20. Hands of Stone
    One sees film-making like this and can only say: no más.
  21. Sweet Bean
    The film has an impeccable technical finish, but it is insipid, contrived, solemn, and ever so slightly preposterous.
  22. The Cloverfield Paradox
    The Cloverfield Paradox is an unholy mess...As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom. The eerie early scenes fade into standard space horror panic and given how crowded that particular subgenre is, The Cloverfield Paradox emerges as a pale imitation.
  23. Valley of Love
    This movie doesn’t really follow through with its own ideas, either in the natural realm of the ageing couple’s relationship or the supernatural arena of an eerily possible apparition.
  24. Boo! A Madea Halloween
    Sprinkled among the desultory morass are occasional firecrackers of brilliant schtick-based comedy.
  25. Special Correspondents
    Special Correspondents shows that Gervais has a plausible Hollywood career, but there’s a baffling lack of real laughs and performance chemistry between the leads, and very little of the acid characterisation and cynical discomfort which is vital to his screen presence.
  26. Lights Out
    Lights Out is yet another half-baked, PG-13 scare-em snoozer centered on an underdeveloped supernatural concept that won’t even give kids a good nightmare.
  27. The Do-Over
    Despite an idiocy metastasized into the marrow of its script impervious to any radiation, there is, as with many of Sandler’s productions, at least something of an upbeat quality to its reprehensibility.
  28. Vaxxed: From Cover-Up to Catastrophe
    There’s something inherently fishy about a movie that claims our facts are drawn from an inefficient data set which then turns around and uses the same methodology.
  29. David Brent: Life on the Road
    It’s a rehash that neither develops the character nor betrays him. It simply assumes that we still share his weaknesses and therefore care about the fool.
  30. The Wild Life
    Each helter-skelter turn throws up story and design elements you’ll have seen better programmed elsewhere.
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