The Guardian's Scores

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For 6,601 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: 2,500 out of 6601
  2. Mixed: 3,782 out of 6601
  3. Negative: 319 out of 6601
6601 movie reviews
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  1. Destroyer
    Kidman fearlessly commits to the filth of it all, whether it’s drunkenly fighting off her daughter’s sleazy boyfriend or jerking off a bed-ridden informant, but her radical transformation and some timeframe trickery can’t mask a plot that feels rather empty.
  2. King of Thieves
    The job itself is bafflingly dull.
  3. They'll Love Me When I'm Dead
    This tricksy, exasperating and strangely unenlightening film, with its pointless fictional narrator played by Alan Cumming, purports to tell the story of Orson Welles’s mysterious “lost” masterpiece, The Other Side of the Wind. But in jokily trying to imitate the jabbering chaos of this film’s production history, it fails to give a clear, informative account.
  4. The Man from Mo'Wax
    Ego, money, drugs: Lavelle’s story has the makings of an entertaining account of the music business. But this film feels too much like a promo for a comeback attempt.
  5. Our Time
    Our Time, for all its moments of brilliance, takes almost three hours in leading us nowhere very rewarding at all.
  6. A Wizard's Tale
    The movie is full of wackiness but contains only traces of comedy.
  7. The Front Runner
    The camera roams this way and that in the media scrum, and as in subsequent scenes, the dialogue is overlapping and borderline unintelligible. It is bravura work in its way, but unconnected to any real dramatic energy or political point.
  8. The Public
    It is a film with its heart in the right place, but the dialogue and characterisation are both plonkingly unconvincing.
  9. Cold Pursuit
    Even without Liam Neeson’s bizarre promotional “rape revenge” anecdote, this violent movie would leave a weird taste in the mouth, lumbered as it is with odd sub-Coen, sub-Tarantino stylings.
  10. Midway
    Like watching a statue for two-and-a-half hours, there’s nothing to do but sit back and yawn.
  11. MFKZ
    If you’re looking for world building, you’re come to the right place. Yet its architects prove keener to flytip this secondhand imagery than they are to sort through it.
  12. Charlie Says
    It has none of the brilliance and insight of Emma Cline’s 2016 novel The Girls, on roughly the same subject.
  13. Greta
    It’s everything and nothing, a familiar regurgitation of a formula with precious little to add.
  14. Donnybrook
    It’s a pulpy slab of exploitation masquerading as an important treatise on the struggles faced by the working class in rural America, thumping us in the face with its shallow viewpoint until we beg for mercy. Or at least the credits.
  15. J.T. Leroy
    It’s a very forthright performance from Dern, but Stewart is simply too opaque and subdued in the role of Knoop. The film itself pulls its punches, unwilling to satirise either her or the egregious Albert too fiercely; it is inhibited about really attacking the vanity of the situation.
  16. The Texas Chainsaw Massacre 2
    A very uneasy, uncertain shocker, quite unable to digest the mix of horror and black comedy which became a genre-must after the first TCM.
  17. The Mule
    As a drama, it’s frustratingly insubstantial, failing to provide enough of an emotional centre or a convincing payoff.
  18. Night Hunter
    This is such twaddle it becomes kind of fun, except that there’s an uncomfortable feeling – as with many vigilante movies – that the film is revelling in the sexual violence and covering itself with the fig leaf of justice-seeking.
  19. The Curse of La Llorona
    While it’s nice to see Cardellini nab a rare lead (in the middle of an unusually fruitful time with turns in Green Book, Avengers: Endgame and Netflix comedy Dead to Me), the script fails to provide her with enough meat, despite her predicament, ultimately stranding her with a rather standard shrieking mother role.
  20. REC
    Midway through, the plot blows a gasket and the camerawork turns altogether crazed, joggling us about in the semi-darkness while the soundtrack rings to distorted screams. Expect pitch and yaw and lots of gore.
  21. Antlers
    There’s probably a semi-decent creature feature here and maybe, with a hefty amount of redrafting, a semi-decent human drama but as it stands it fails at both, a satisfying, coherent film buried underneath copious amounts of animal guts.
  22. Dead in a Week: Or Your Money Back
    Dead in a Week is striving for a weirdly sentimental kind of black-comic farce, and it doesn’t work.
  23. Never Look Away
    Never Look Away is not without ambition and reach, and there is a real storytelling impulse. But the central performance of Schilling looks shruggingly uncertain, as if he is bemused by what is going on.
  24. Dumplin'
    Too often the film loudly announces its noble intentions with slogans instead of dialogue.
  25. Annabelle Comes Home
    Annabelle Comes Home is hopelessly light on scares.
  26. Superintelligence
    It speaks to the extremely low bar set by Falcone and McCarthy’s previous films together that something as forgettable and unfunny as Superintelligence won’t be filed as a total disaster. Instead, it’s just another regrettable waste of her talent and another reminder that the best marriages can lead to the worst movies.
  27. Backtrace
    The whole thing is really waxy and sad, like the immobile face of co-star Sylvester Stallone; although the chance to enjoy the always interesting, never-as-big-as-he-should-have-been Matthew Modine, still looking pretty fly with a shock of white-and-gold hair, is very welcome.
  28. Extremely Wicked, Shockingly Evil and Vile
    There is something basically unsatisfactory about this glassy-eyed biopic of the satanic dreamboat Bundy.
  29. Photograph
    It is weirdly opaque and internalised, and doesn’t ever really come to life.
  30. Angel Has Fallen
    As with Den of Thieves, Angel falls into the “lively mediocrity” category of Butler schlock, with one or two plot hikes that suggest the script meetings were well-refreshed.
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