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. 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.
  2. 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.
  3. 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.
  4. Rebecca
    Rebecca 2.0 is sometimes quite enjoyable in all its silliness and campiness and brassiness, and in some ways, gets closer to the narrative shape of the original novel than the Hitchcock film, which rather truncated the third act.
  5. The Nowhere Inn
    Too hip for its own good, the film ends up going nowhere. Only of interest, perhaps, to hardcore St Vincent and Brownstein fans.
  6. The Forever Purge
    It’s hard to know how seriously we’re supposed to take any of this when it’s so unclear what the makers’ intention is and so the film’s deeper cuts fail to truly wound because so much of it is mired in silliness.
  7. The Rescue
    The result is as long and as lavish an advert as has ever been produced for the Chinese emergency services. It’s just you might reasonably want your films a little more stirring and challenging, and not quite so obviously rubber-stamped.
  8. Lost Girls
    Lost Girls is sorely lacking and, ironically, one wonders what a Garbus docuseries could have found instead.
  9. News of the World
    Tom Hanks leads this handsomely shot but stolid and blandly self-satisfied western.
  10. Minions: The Rise of Gru
    Although the character of Gru is mildly funny, the minions are unfunny without him and have never convincingly attained spin-off hero status. This is another of those intellectual property concepts whose trademarked quirky voices and characters should be laid to rest.
  11. Resistance
    Eisenberg does an honest job with the role of Marceau, but it is a subdued performance. Marceau emerges as animatedly nerdy before the Nazis invade, but when the film has to show his heroism, Eisenberg plays him pretty straight. The result is a performance that could have been turned in by anyone.
  12. The Wretched
    The narrative focus is frustratingly split between Ben’s family and Abbie’s, and the result is a non-frightening muddle.
  13. The Doors: Break On Thru - A Celebration Of Ray Manzarek
    The hits comes thick and fast, tightly arranged and slickly performed, but this lineup of well-preserved mostly male musicians gives the show the bland atmosphere of a celebrity tribute band.
  14. Benedetta
    Verhoeven just presents us with the raunchiness, using the religiosity as set dressing.
  15. The Old Guard
    The adjective in the title is right. It gets old pretty quickly.
  16. On the Rocks
    There are some cheerfully amusing moments . . . . But really the banter and the elegance needs some substance in the script and it really isn’t here, or not enough of it, and the serious moments seem glazed in a kind of negligent unseriousness.
  17. Hooking Up
    Weirdly prudish about the intimacy scenes, the sex addiction storyline is a cheap attempt to spice up the romcom formula, but this movie is as vanilla as they come.
  18. Tuscaloosa
    Dyer’s intelligent and sensitive performance does wonders for a character who, on the page, looks like a male fantasy: a cool-girl psychiatric case, fun-loving, free-spirited and up for anything.
  19. Uncorked
    The formula is so well-trodden that it needed a sparkling jolt of energy to justify Penny traipsing his way through it again. Uncorked isn’t exactly corked but it’s definitely flat.
  20. Balloon
    How Herbig fails to capitalise on the sheer physical terror of their flight – the balloon’s basket is more a flimsily strung boxing ring – makes you wish someone like Werner Herzog had mounted this mad escapade for real.
  21. My Hero Academia: Heroes Rising
    All the exertion – fleshed out in visuals that veer from Astro Boy-aping cutesiness to interestingly rough closeups, as if the animation itself is fraying in the heat of battle – pays diminishing dividends. The panoply of powers begin to seem interchangeable, the character arcs dim.
  22. Swift
    Virtually laugh-free, so-so looking with a seriously drippy musical number, it feels like a film slipped into cinemas over summer to sucker parents desperate to do something, anything, to fill a couple of hours.
  23. Ride Like a Girl
    Clearly marketed as inoffensive feel-good pap, I didn’t go into the film expecting a nuanced commentary on the racing industry. But nor did I expect what often felt like a thinly veiled 98-minute advertisement, interspersed with occasional moments of warmth and humanity.
  24. Banana Split
    There is no law that says a movie like this has to be funny exactly, and it needn’t be something in the style of Booksmart – but there is something rather solemn about it.
  25. Fatima
    Given the inherent lack of drama in the kind of unbreakable faith on display here, anyone wishing to tell the story needs to work much harder than this laboured treatment to wring any nuance, conflict or indeed true sublimity from it.
  26. Enemy Lines
    The story has the makings of a gripping adventure, but something is lacking.
  27. Coffee & Kareem
    It’s a strange movie that can seem mildly interested in tackling bigger issues before swiftly backing down.
  28. Love Wedding Repeat
    The film’s drunken lurch into earnest romance near the end, after leaning on bawdy humour for the most part, requires us to see these characters as something other than farcical chess pieces, an uphill battle for all involved.
  29. The Secret Garden
    This garden is pretty but lifeless.
  30. Fatherhood
    Hart comports himself with a more dialed-back version of the jittery everyman affability he’s developed over decades in the comedy circuit, a schtick that reads as just that – a pose, a well-honed affectation. There is an immense and documentable falseness at the core of his performance that drags down the salvageable movie all around it, far from the redemption arc clincher his handlers may have had in mind.
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