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. Dark Phoenix
    The point of a phoenix, dark or otherwise, is that it rises from the flames. But these are the flames in which this franchise has finally gone down.
  2. Bohemian Rhapsody
    Bohemian Rhapsody honours Mercury the showman but never really gets to Mercury the person.
  3. Glass
    Like so many of Shyamalan’s adventures, Glass starts strongly and fizzles, a dramatic droop which is initially camouflaged by the escalating grandiosity of visual rhetoric, something febrile and high-concept that is visionary in everything except having vision.
  4. In the Fade
    Fatih Akin’s mediocre revenge drama In the Fade is the TV movie of the week: feebly uncontentious and un-contemporary.
  5. Welcome To Marwen
    The remarkable career of artist and photographer Mark Hogancamp has been turned into an elaborate and misjudged movie of baffling pass-agg ickiness and pointlessness.
  6. Based on a True Story
    This is a movie which begins with confidence and style, wearing its influences pretty insouciantly; the film sashays about the screen with a kind of sexy-chic smirk, like the unvarying facial expression of its co-lead Eva Green. But it wobbles at the brink of plot-holes which undermine the vital realistic plausibility of a film like this.
  7. Ismael's Ghosts
    This is an unfinished doodle of a film, a madly self-indulgent jeu d’esprit without substance: a sketch, or jumble of sketches, a ragbag of half-cooked ideas for other movie projects, I suspect, that the director has attempt to salvage and jam together. [Cannes Version]
  8. Double Lover
    It’s a wildly dated-looking and derivative film, a quaint adventure in fantasised naughtiness.
  9. How to Talk to Girls at Parties
    What an extravagantly muddled, borderline incontinent film this is. You might call it genre-hopping, except that this would imply some degree of intent and control.
  10. Wonderstruck
    Wonderstruck is sometimes sweet and well-intentioned, but more often indulgent and supercilious.
  11. Jeannette: The Childhood of Joan of Arc
    One can never quite tell with Dumont if he’s deadly serious about all this or laughing up his sleeve. That’s sort of what makes his work fascinating, although in this instance, viewer patience is severely tested.
  12. The Merciless
    By the end of this relentless, sprawling and bloody crime opera it may be you who is on your knees, begging for the damn movie to just hurry up and end it.
  13. Gringo
    The film periodically livens up, and Oyelowo shows that he can play comedy, but his performance isn’t given much guidance or room to grow and the direction is very flat and uninspired.
  14. The Boss Baby: Family Business
    Given the calibre of the voice cast, perhaps the biggest disappointment is how humourless the movie is.
  15. Last Flag Flying
    What a bland and sugary texture there is to this very conservative, undemanding oldster roadtrip.
  16. Happy Death Day
    It’s Groundhog Day meets Scream, although lacking the first film’s novelty and the latter’s postmodern smarts.
    • 35 Metascore
    • 40 Critic Score
    Proud Mary
    The makers of Proud Mary don’t know what to do with their terrific ensemble cast. Henson may be due for a Taken-style career boost (and Proud Mary may very well be it). But she deserves so much better than this.
  18. Back to Burgundy
    The characters at one stage debate the merits of a smooth, fruity wine versus something more taut and acidic: it would be tempting to say that Klapisch goes too predictably for the first option, but the problems here are more with structure than taste.
  19. Kuso
    If the film wasn’t so cheekily self-aware it might be literally unbearable, but every so often it references its own grotesquerie.
  20. Gemini Man
    The digital novelty is striking for the first 10 minutes, silly for the next 10 minutes, and by the end of the movie you’re pining for the analogue values of script and direction.
  21. Molly's Game
    Sorkin is spellbound by his subject, fascinated by the many details of her admittedly impressive life, but the magic he clearly feels fails to translate on screen.
  22. Jigsaw
    Why drag the franchise back now? The screamingly obvious answer is sheer cash-grab cynicism. Or perhaps it’s to cater to the generation of kids who’ve grown up riding the Saw-themed roller coaster at Thorpe Park. Either way, it’s depressing.
  23. Crocodile Dundee
    For a long time Crocodile Dundee isn't so much a collection of jokes as a stiff-jointed opposites-attract romantic drama goofed up with stereotypes.
  24. Chaos Walking
    It’s a film that should have been a major disaster but ends up being just a minor one instead, watchable enough in parts, with the lowest of expectations, but not enough to warrant the time and money that’s been funnelled into it.
  25. I Feel Pretty
    Even though the script might let her down, Schumer does still manage to sell a smattering of the comic moments (the opening scene has a promising knockabout tone), but when she reaches the more dramatic elements, she struggles to convince.
  26. Where'd You Go, Bernadette
    It’s the kind of adaptation that is so misjudged that you end up struggling to see why anyone thought it a good idea to adapt in the first place.
  27. Bushwick
    Sadly the acting and dialogue needed a little work.
  28. Professor Marston & the Wonder Women
    As well as showcasing the blandest and most tasteful three-way sex scene in history, this movie spreads an odd pall of sentimentality and period-glow nostalgia over a fascinating real-life story.
  29. The Vault
    There’s a reasonable premise to this horror-thriller, but also something straight-to-rental about the look and feel of the whole thing.
  30. 12 Strong
    It’s all very easy: a feelgood war tale from what feels like a distant age.
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