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. Little
    The comedy is fundamentally hobbled by the split in narrative focus between Jordan and April. We are never sure who is the heroine here, who has the comedy underdog status, who we are supposed to be rooting for.
  2. The Man Who Killed Hitler and Then The Bigfoot
    But we’re not fooled. This is an elaborate Dadaist joke, the funniest part of which is that it’s not in the least bit funny.
  3. Ghostbusters: Afterlife
    The keynote is vanilla blandness.
  4. Patrick
    It’s a film jam-packed with very good actors and big names, and suffused with a puppyish willingness to please. But where is the bite?
  5. The Hummingbird Project
    It’s the kind of verbose corporate parable David Mamet would sit down to write after a heavy night on the sauce.
  6. A Dog's Journey
    By their very nature, dog lovers may be more forgiving and enthusiastic, but much of it is reaction shots of trained mutts, right through to the closing-credit snapshots of the crew’s Forever Friends, this movie is almost literally all puppy eyes.
  7. Someone Great
    Despite fine performances from Gina Rodriguez and Lakeith Stanfield, the debut film from Jennifer Kaytin Robinson never strays from the genre’s cliches.
  8. Blinded by the Light
    There’s something so constructed and suffocating about watching a tried and tested formula not working, the over-sentimental string-pulling on show for all to see.
  9. The Witches
    The spell does not get cast.
  10. Them That Follow
    It’s competently made but utterly vacant, a forgettable indie fading fast.
  11. Wounds
    Once the wounds have healed, Anvari may wish to make a film with the strength and distinctiveness of his debut.
  12. Red Joan
    Quite simply, there is not enough Dench, not enough Old Joan, not enough about how she feels about the decades of deceit, and tension, and becalmed ordinariness, far from the drama of espionage.
  13. Tom Clancy’s Without Remorse
    There’s not much real spark to it.
  14. Pavarotti
    Bland, incurious and passionless, this documentary about the great tenor Luciano Pavarotti is like a promotional video licensed by a team of copyright lawyers – and about as challenging as a Three Tenors gig at Wembley stadium.
  15. Coming 2 America
    The movie is as tired and middle-aged as Akeem himself; Murphy is oddly waxy and stately, and has no authority figures he can really play off.
  16. Abominable
    Here’s a defanged, declawed yeti in an animation whose every beat, character and narrative component feels as if it has been algorithmically tested for commercial safety by a computer programme.
  17. Elisa & Marcela
    Writer-director Isabel Coixet has taken a real-life love story from 20th-century LGBT Spanish history and turned it into something bafflingly passionless, joyless and excessively tasteful, an anti-alchemy assisted by stately monochrome photography that makes every frame look like a postcard from an art shop.
  18. God Exists, Her Name Is Petrunija
    What begins as a sprightly, shrewd, visually striking satire from Macedonian director Teona Strugar Mitevska deflates in its second act into something unconvincing, sophomoric and dramatically redundant.
  19. The Golden Glove
    Apart from its grisliness, its hopelessness, and its pointlessness, what strikes you most about this true-crime movie is its brownness.
  20. I Was at Home, But
    The movie is not without interest, but I found it mannered, derivative and opaque.
  21. The Kindness of Strangers
    The Kindness of Strangers is one of those terrible ideas for a film: ensemble dramas that are superficially attractive because of all the big names shoehorned into the cast-list.
  22. Finding Steve McQueen
    It’s a forgettable film, with a fair few gags that strike a depressingly sexist note.
    • 66 Metascore
    • 40 Critic Score
    The Inventor: Out for Blood in Silicon Valley
    The fascinating story of Elizabeth Holmes and the Theranos scandal is frustratingly underexplored in Alex Gibney’s disappointing new film.
  24. MS Slavic 7
    This curious, truncated piece tells us nothing substantial about Zofia Bohdanowiczowa or Józef Wittlin – or, indeed, about anything at all.
  25. Breakthrough
    It is presented with no mystery and scant wonder; instead, we get two hours of flatly professional procedural.
  26. Tell It to the Bees
    Despite the hefty talent involved, there’s a preposterous pass-agg tweeness to this film.
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