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. In the Tall Grass
    While some of the nastier lurches in the third act will appease genre fans, the guff that surrounds them will probably confuse and ultimately alienate them, the film’s moving parts never really moving in unison.
  2. Scarborough
    The performances are strong and full of passionate conviction, which somewhat moderates the problematic aspects, while the use of natural light and tacky seaside textures does succeed in generating some atmosphere.
  3. Dirt Music
    Dirt Music eventually arrives at a deep, thought-provoking moment – but it takes the entire film to get there.
  4. Jungleland
    The performances are fine, but the questionable decision to cast not one, not two, but three Brits can’t help but intensify the off-putting sense of Americana cosplay.
  5. Venom: Let There Be Carnage
    It’s at least a short film, clocking it at around 90 minutes, Serkis chopping off any extraneous fat, but it floats by and floats on without ever causing us to sit up and pay attention. Let there be no more.
  6. Rapid Response
    There are some neat, borderline gory animations to illustrate how concussions work, which for this viewer were a lot more interesting than the endless stretches of racing footage. The anonymous, off-the-peg score of backing music and flat editing, however, still make this a bit of a slog.
  7. The Turning
    This film makes explicit the implied sexuality in the original, which isn’t necessarily a wrong thing to do at all, but everything is very ham-fisted and crass.
  8. The Trial of the Chicago 7
    He [Sorkin] can also become fantastically ponderous, bloated with finger-waggingly self-important liberal patriotism. Sadly, that is the tone with this exasperatingly dull, dramatically inert and faintly misjudged re-creation of the “Chicago Seven” trial in the US, which Sorkin has written and directed.
  9. Mystify: Michael Hutchence
    Frustratingly, Lowenstein doesn’t let the musician’s talent speak for itself.
  10. Line of Duty
    It’s amiable, but the real action thrills and the chemistry between the leads isn’t there.
  11. Ip Man 4: The Finale
    Given that a fair amount of creative licence has been exercised here, it is strange that Bruce Lee has such a small part to play.
  12. Wendy
    Wendy is undoubtedly self-assured and in-your-face, and the gorgeous location photography certainly has an impact. But it’s wrecked by chapters so lengthy they become simply excruciating.
  13. Blumhouse's Fantasy Island
    An odd attempt at genre-surfing that ends up well out of its depth.
  14. A Dog Called Money
    Harvey is mostly a watchful observer with a notebook; sometimes she reads lines of poetry she’s jotted down on the voiceover. But we barely see her interacting with anyone on the ground, which gives the whole thing an impersonal feel.
  15. Antebellum
    Antebellum offers neither a coherent social commentary nor – thanks to its pat, ahistorical ending – a revenge thriller’s catharsis. What else, besides entertainment, could its purpose be?
  16. The Secret: Dare to Dream
    It’s mostly kind of tolerable in a low stakes, rosé-wine-swigging way, inoffensively middling rather than rotten, an easy, undemanding afternoon watch with nothing of note other than a few laughably dumb moments..
  17. The Corrupted
    Scalpello’s film is livelier pulp than the absence of advance fanfare would suggest.
    • 42 Metascore
    • 40 Critic Score
    Fire in the Sky
    Certainly a film which preserved a decent even-handedness on the matter might have been considerably more intriguing. [17 Jun 1993, p.4]
    • The Guardian
  19. The Matrix Resurrections
    This is a heavy-footed reboot which doesn’t offer a compelling reason for its existence other than to gouge a fourth income stream from Matrix fans, submissively hooked up for new content, and it doesn’t have anything approaching the breathtaking “bullet time” action sequences that made the original film famous.
  20. Quezon's Game
    The story is a real-life political chess game with the makings of a gripping race-against-the-clock thriller; but here it drags out into sluggish, dull and unconvincing melodrama.
  21. Downhill
    There’s a lived-in chemistry that’s missing from the pairing and the film’s great many awkward moments between them don’t feel quite as cutting or as uncomfortable as they should. It’s a dark comedy that feels too light.
  22. Tenet
    There’s something grating about a film which insists on detailing its pseudo-science while also conceding you probably won’t have followed a thing. We’re clobbered with plot then comforted with tea-towel homilies about how what’s happened has happened.
  23. Waiting for Anya
    The film is gorgeous to look at, all alpine meadow flowers and glorious green mountains. But the drama loses momentum pretty early on.
  24. Respect
    This is a long, laborious movie whose every scene feels hackneyed at some level and which is always drifting towards its own misjudged secular gospel of simplistic salvation and life lessons learned. But an artist’s life is more complicated than that.
  25. Bloodshot
    Aside from the singular brawn of its leading man, this would-be springboard has nothing much worth launching. It’s a stack of wormed-over action tropes, and to make matters worse, the movie knows it – and yet does not know enough to spare us its missteps in the first place.
  26. Peter Rabbit 2: The Runaway
    It can sometimes be cute or zany and briefly send itself up, but there is fundamentally something pretty straight in its DNA.
  27. The Photograph
    Issa Rae and Lakeith Stanfield can’t save this dreary Valentine’s drama that lacks fizzle and emotional stakes.
  28. Miss Americana
    It’s brand management dressed up as insight and while it’s not not entertaining, it’s certainly far from particularly revealing, playing more like a PR exercise then a festival-worthy feature.
  29. Horse Girl
    The ambition of Horse Girl ultimately gets the better of it, turning what could be a dark but insightful depiction on signs missed in a mental health crisis into an agreement on one’s madness – a game of what’s real, and what’s not, that feels unsettling to play.
  30. All the Bright Places
    Haley, who last directed the sweet and underseen Hearts Beat Loud, gives the film a stronger aesthetic than most Netflix teen offerings, and Fanning and Smith work hard at charming us into submission, but their hard-to-buy relationship isn’t quite the immersive ride-or-die love connection it needs to be, given the melodrama of the last act.
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