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. The Hunt
    In making the worst stereotypes of America’s political poles as extreme as possible, and America’s divide as literal and violent as possible, The Hunt feigns a viewpoint rather than actually having one. It takes aim at everyone, redeeming no one. Which feels circular, and queasy, and right back where we started: some empty talk about a divided nation, and a film thats probably not worth this much conversation.
  2. Last Christmas
    It might look the part, with the director Paul Feig successfully capturing the glossy, tourist-friendly London one would crave from such a film, but the script feels like a rejected first draft with unfunny filler one-liners and a scrappy, ill-thought through narrative. It’s a beautifully wrapped Christmas gift that’s filled with rotten turkey leftovers.
  3. The Amazing Johnathan Documentary
    Berman is guilty of one of the most tiresome cliches in documentary – solemnly playing the audio of a phone conversation, with subtitles, over an exterior shot of the building where it is taking place, giving the impression that this is smoking-gun proof of something sensational, or at any rate interesting, when it is pretty ordinary.
  4. Eternals
    There are some nice touches and an attractive new diversity worn lightly, but this is an underpowered and uncertain film.
  5. Jojo Rabbit
    It’s oddly safe, given the subject matter, and the humour is similarly sanitised. What Waititi thinks is shockingly audacious is in fact frustratingly timid, he opts for a gentle prod when maybe a punch would do.
  6. The Last Duel
    An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.
  7. Blackbird
    It’s less of a film and more of an actors’ workshop, an exercise for everyone involved but meaningless to us.
  8. The Sky Is Pink
    The ending is unforgivably mawkish, though, and the running time of two-and-a-quarter hours is simply too long.
  9. Endings, Beginnings
    Well, it’s a good performance from Woodley.
  10. Guest of Honour
    Thewlis keeps the film from sinking completely: the haunted, unhappy man resigned to his unjust burden of guilt and shame.
  11. Hope Gap
    Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again.
  12. I Am Woman
    Each scene needed a jolt of music or energy that just wasn’t there.
  13. Military Wives
    Kristin Scott Thomas and Sharon Horgan saddled with a by-the-numbers script in a well-meaning but hackneyed Brit flick.
  14. Our Friend
    While the screenwriter, Brad Ingelsby, does root us in the minutiae of the trio’s day-to-day, it’s never in particularly interesting ways, and over an indulgent 135-minute runtime, we gradually grow tired of them, often questioning exactly why we need to know so much about their lives.
  15. Don't Let Go
    Even with an intelligent, credible performance by David Oyelowo, the daftness and utter implausibility of a smartphone so smart it can make calls to the future is overwhelming.
    • 49 Metascore
    • 40 Critic Score
    Great Balls of Fire!
    If you're determined to make a fun, feelgood movie, a marriage between a manipulative bigamist and a terrified minor that spirals off into alcoholism, violence and ruination may not be the ideal subject matter. Even if the music is really, really good.
  17. Zombieland: Double Tap
    As dated as its slow-mo zombie-killing opening credits, at times Zombieland: Double Tap feels like it was made directly after the original yet carelessly forgotten about. It’s rushed and dusty, a film more belonging on Crackle than the big screen, more expensively budgeted than the first yet mostly creatively bankrupt.
  18. Seberg
    The film never quite rings true.
  19. The Way Back
    It sleepily hits the beats we expect but without the emotion or passion required to make them land, a by-the-numbers exercise from someone with barely enough energy to count.
  20. The Bromley Boys
    Weirdly for a film supposedly based on actual events – adapted from Dave Roberts’s football memoir about life as a fan of beleaguered Bromley FC during the 1969-70 season – a persistent whiff of fakeness hangs over it.
  21. A Million Little Pieces
    A Million Little Pieces is a weirdly unreflective exploration of the destructive force of addiction and, setting a new benchmark for blandness, drags on for what feels like a million not-so-little minutes.
    • 58 Metascore
    • 40 Critic Score
    One Million Years B.C.
    Harryhausen's dinosaurs are well worth a look, but the rest of One Million Years BC will bore the furry pants off anyone more advanced than a Neanderthal.
  23. Edie
    We get some lovely photography of the Highlands and the breathtaking landscapes all around Inverness, and Hancock is always a potent presence. But she could have done more, conveyed more, with a story that wasn’t so basically simplistic and familiar.
  24. Underwater
    What frustrates me most about Underwater is just how very little it brings to the table. It’s a solid, competently directed regurgitation of an oft-told tale that never manages to justify its own existence
  25. The Woman in the Window
    Curiosity might bring you here but boredom will drive you away.
  26. American Skin
    No one in real life speaks the way they do in this film. No genuine drama is this crudely ordered drama, with its telegraphed turnabouts and conveniently-placed confessions, all building to a stage-managed plea for tolerance and unity.
  27. The King
    Chalamet gives it his all as the pudding-bowl-hairstyled young king. But so much of the poetry and the sense of loss has gone from this decaffeinated version of the story.
  28. Playing with Fire
    The whole thing is shot and lit in that dull flat way that is mandatory for Hollywood family comedies, and the script is mainly dull, though I concede Key has some nice lines as he gets cross with Brynn’s sarcastic attitude.
  29. The Last Thing He Wanted
    The Last Thing He Wanted is a thing that no one wanted.
  30. A Rainy Day in New York
    This is like an over-chewed piece of gum: flavourless.
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