The Guardian's Scores

Select another publication »
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
view
per page
  1. Tell It to the Bees
    Despite the hefty talent involved, there’s a preposterous pass-agg tweeness to this film.
  2. Storm Boy
    In the new film, by literally creating a bust of the bird – as if a clump of stone or plaster could compare with the natural majesty of wings and feathers – the meaning has been accidentally inverted: a story about how something can never die becomes about how it will never live again.
  3. Lost & Found
    It’s written and directed by Liam O Mochain with the kind of inoffensive hot-water-bottle-laughs you wouldn’t think possible after Father Ted. Well, I say inoffensive, but one of the vignettes – about an uptight bridezilla whose sole character trait is her desperation to get married – is depressingly unfeminist.
  4. The Legend of Cocaine Island
    Sometimes, a good legend is all the embellishment you need.
  5. Georgetown
    Curiously flat ... From the opening few frames through to a clunky introductory sequence, there’s something frustratingly off-balance about Georgetown.
  6. Always Be My Maybe
    Like Set It Up before it, Always Be My Maybe hits all of the beats we have come to expect yet fails to do so well enough, as if the mere existence of a technically well-structured romantic comedy is better than nothing.
  7. Plus One
    It needed bigger laughs and more of the big, ironic comedy that Erskine can clearly deliver.
  8. Redcon-1
    Cheung shows promise as a shotmaker and stager of blunt-force action. If somebody cares to arm him with a script editor and production grants, we could have a discovery of sorts on our hands.
  9. Ready or Not
    As a comedy, it’s simply not funny and as a horror, it works better in pieces but not with the consistency a film set over one night would require.
    • 69 Metascore
    • 40 Critic Score
    Echo In the Canyon
    Slater didn’t need to get every last Canyon musician on camera, but to avoid mentioning many of them altogether is a total dereliction of duty. Mojo and Uncut magazines do this sort of nostalgic rock history with so much more specificity and impact – spend your money on some real storytellers.
  11. Little Joe
    None of this is represented in any compelling dramatic style, and the actors – all very talented and assured – have perhaps not had clear enough direction. It is a mood piece. Whose mood leads nowhere.
  12. Mektoub, My Love: Intermezzo
    Bizarre, colossally self-indulgent ... This one feels as if Kechiche has simply given us three-and-a-half hours of his unused beach and nightclub footage from the first film.
  13. Oh Mercy!
    It is a drama that attempts to behave like a tough police procedural in a quasi-Melville vein, but also like a musing prose-poem about the vanity of human wishes.
  14. Sibyl
    Fundamentally, Sybil is not funny because it is not convincing, and some of the acting is not of the highest order. Efira’s “drunk” turn is something she may wish to omit from her showreel.
  15. Joan of Arc
    Opaque and unrewarding.
  16. La Belle Époque
    It’s comedy-drama that is not funny enough to count as a comedy and not plausible enough to count as a drama. You’re going to need a very sweet tooth for it – sweeter than the one I have.
  17. Lux Æterna
    Insufficiently diverting ... Lux Æterna shows Noé reverting to the self-parodic silliness that Climax had taken him past.
  18. Amaurosis
    When The Unseen works it has an interestingly airless atmosphere, a weirdly disconnected, alienated quality that mimics the couple’s fraught emotional state. But the tension and sense of fear were lacking.
  19. My Spy
    Lowish-level titters are in evidence – mostly care of Kristen Schaal as Dave’s tech aide – while an analogue finale on a scrappy-looking airfield offers passing respite from the multiplex’s usual VFX-bloated city smashing.
    • The Guardian
      • Posted Mar 31, 2020
  20. Stuber
    Really there is very little chemistry between Bautista and Nanjiani, the cameo from Karen Gillan is disconcertingly fleeting, and if you compare this with something like the Beanie Feldstein/Kaitlyn Dever comedy Booksmart, the dialogue really does sound a bit pedestrian.
  21. John Wick: Chapter 4
    Those who appreciated the original for its brutal, sinewy agility have another thing coming: a lumbering, stultifying gargantua of a film willing to kill everything except its darlings.
  22. Armstrong
    This Neil Armstrong documentary feels like unrequired viewing coming so soon after two cracking moon landing movies.
  23. Sea of Shadows
    It is heartfelt, but its periodic attempts at thriller-style bouts of excitement are redundant, and I wondered sometimes if the film-makers were sure what exactly their story was.
  24. Ford v Ferrari
    It is crammed with unearned emotional moments and factory-built male characters whose dedication to their sport we are expected to find adorable and heroic by turns.
  25. Anna
    Anna is not quite pedestrian but it never really feels like the work of someone with anything to say or prove. It’s competent and even complacent at times, a million miles from what one would expect from the director of The Fifth Element.
  26. The Etruscan Smile
    Its arcs and beats are as careworn as your grandfather’s armchair.
  27. Bharat
    Bharat’s Achilles heel is its desire to pack so much in, at headspinning pace, tossing causality to the wind. Zafar reduces history to one damn thing after another, resulting in a 150-minute fire sale of period costumes and abandoned story beats.
  28. Loopers: The Caddie's Long Walk
    Viewers and critics versed in golf lore can pass judgment on how well this documentary about caddies enhances their knowledge of the sport itself. But on the behalf of those utterly uninterested in golf, I can report that it is moderately interesting.
  29. Palm Beach
    After a lax first half, Palm Beach slowly settles into a groove, growing in complexity and nuance. However, Ward’s laidback approach is not remotely cinematic (this feels more like a filmed play), and never is there a sense of urgency or stakes.
  30. Holy Lands
    A good performance from Tom Hollander can’t save this stodgy, ungainly and strangely reactionary family drama from the French writer-director Amanda Sthers.
Page:

Top Trailers

See all »
See all trailers »