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. Action Point
    Watching it is like travelling through a wormhole to a slightly crummier version of 2004.
  2. I Can Only Imagine
    For all the faith-based platitudes baked into the script, it has to be conceded that directing brothers Andrew and Jon Erwin steer the ship steadily and draw out sincere and persuasive performances from Finley, who really can sing gloriously well, and Quaid, who even with a now ravaged visage is still just as dangerous, compelling and sexy as ever.
  3. Napping Princess
    It starts feeling fairly mechanised itself, every clank of those boysy Transformer knock-offs further drowning out its wistful heroine.
    • 63 Metascore
    • 40 Critic Score
    Gaga: Five Foot Two
    Five Foot Two never quite shakes the feel of a longform advert for Gaga’s new phase that’s preaching to the converted.
  5. Mark Felt: The Man Who Brought Down the White House
    It’s surprising that a film about Deep Throat could be such an anticlimax.
  6. Borg vs. McEnroe
    This tennis film feels like a two-hour baseline rally, and it’s not just the rackets that are made of wood.
  7. Super Size Me 2: Holy Chicken!
    This time, his journey doesn’t send him to the ends of experience. Instead, he goes on a smug odyssey of know-it-all-ism that yields a scant few factoids we didn’t already learn from his first film.
  8. Loving Pablo
    Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product, inexactly cut.
  9. Papillon
    Just as in the book, the memorable part of this story is its ripe black-comic business.
  10. Submergence
    There’s something to be admired about a film that can gracefully defy simple genre categorization but Submergence feels like a clumsy melange, a confused adaptation made by people who don’t seem quite sure what they have on their hands.
  11. The Jungle Bunch
    Loud and zappy, The Jungle Bunch trots out predictable be-kind-be-brave platitudes, but lacks anything distinctive of its own.
  12. It: Chapter Two
    Like the first film, it becomes a virtual non-narrative anthology of standard jump-scares that could be reshuffled and shown in any order. The second time around, your tolerance for this is tested to destruction and beyond because, unlike the first movie, it is just so pointlessly long.
  13. Boy Erased
    It’s a curiously underwhelming, muted, often plodding two hours that fails to reach the emotional highs and devastating lows one would expect from the material.
  14. Nails
    With its creepy music and only-just-adequate performances, this will serve nicely at future slumber parties for thrill-seeking tweens.
  15. Bitch
    It’s an interesting concept, but the characters are thin and nothing here feels insightful.
  16. Let There Be Light
    Everyone here emotes like they’re acting in an electric toothbrush ad.
  17. Ferrari: Race to Immortality
    As a film, it’s altogether keener to Turtle Wax the brand than stop for even a moment to examine what Ferrari the man, logo and company ever stood for.
  18. The Strangers: Prey at Night
    The cast all perform adequately, with Hendricks in particular proving effective, but it’s just difficult to really invest in what happens to any of them. Before long, characters are all making stock horror movie decisions, and there’s no amount of effective craftsmanship that can sell stupidity.
    • 63 Metascore
    • 40 Critic Score
    Unsane
    The absurdity and the galaxy of plot holes in the farcical final act just undermine everything.
  20. Antiporno
    Antiporno has a kind of energy, but is also shallow and frantic.
  21. Hellboy
    It couldn’t be more boring than this. It seems counterintuitive to say it, but there is something pretty soulless about this new Hellboy franchise.
  22. The Goldfinch
    The film always looks good under the eye of cinematographer Roger Deakins, and screenwriter Peter Straughan renders some elegant and amusing dialogue, but this Goldfinch stays earthbound.
  23. 7 Days in Entebbe
    “Surprise and speed is the key,” someone comments at one point; the only surprise is how unspeedy and unsurprising this project turned out to be.
  24. Mortal Engines
    There are some lively things about Mortal Engines, and the performances are game enough. Yet in all its effortful steampunkiness, Mortal Engines isn’t a film which is particularly exciting or funny, and the idea of the “traction city” is a stylistic and visual design tic that you just have to take or leave.
  25. Come Sunday
    The good news is that Ejiofor is great even in the scenes that don’t go anywhere. Those who find heaven here on earth in the form of strong film performances ought to commune with Come Sunday. The rest can sleep in.
  26. Slender Man
    If you thought the bogeyman was slender, wait till you see the film.
  27. The Darkest Minds
    The pieces of a potential franchise are put in play here without stakes being raised or pulses quickened.
  28. Ophelia
    This film looks absolutely gorgeous, but apart from its production design it is basically a disaster.
  29. Hotel Mumbai
    Art born of outrage has to be more rigorous – and we might also contemplate what merit there is in guaranteeing prospective terrorists a filmed account of their misdeeds.
  30. Lu Over the Wall
    It seemed overextended and self-conscious.
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