The Guardian's Scores

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For 6,585 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: 2,496 out of 6585
  2. Mixed: 3,770 out of 6585
  3. Negative: 319 out of 6585
6585 movie reviews
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  1. America: The Motion Picture
    Under Callaham’s inelegant pen, the characters all speak in this overexcited 13-year-old’s vernacular, prone to F-bombs and dick-talk.
  2. Sweet Girl
    Thinly etched topicality only gets the film so far (the script is very “I read an article once”) and when the action mechanics kick into gear, it’s yet more of the same with very little to distinguish it from the pack.
  3. False Positive
    As the film crashes to a conclusion, early promise fading away, the film has the feeling of a valiant, but misguided, post-Get Out attempt to infuse social commentary within the framework of well-worn genre territory, aiming high but landing low.
  4. The God Committee
    The dialogue is earnestly on-the-nose, and there is little in the way of visual excitement in what’s essentially a static board meeting (the story was adapted from a stage play).
  5. P!nk: All I Know So Far
    There is little narrative, beyond the Wembley gig approaching; and, more crucially, little conflict, outer or inner.
  6. Rogue Hostage
    The whole shooting match is pretty bloody, and as cheesy as the dairy aisle, but decent fun to watch.
  7. Where the Crawdads Sing
    Where the Crawdads Sing never really had an interest in complications, or hardship, or racism as anything beyond wallpaper for its central nature girl fantasy of self-reliance. It would rather stay above the fray, gliding prettily along the marsh without actually getting dirty.
  8. Samaritan
    It’s a fresh spin that feels awfully stale, a Samaritan less good and more mediocre.
  9. The Birthday Cake
    Odd though the film is and full of peculiar needle drops showcasing classic tunes that don’t especially fit the action, the whole thing looks pretty good thanks to cinematographer Sean Price Williams.
  10. 65
    It’s not quite the toxic disaster it’s being treated as but 65 is nowhere near the giddy lark it should have been, crash-landing somewhere in the middle instead.
  11. JFK Revisited: Through The Looking Glass
    Did the whole nation and its governing class go into denial after the Kennedy assassination as a way of managing their shock and grief? Perhaps. But this documentary, for all its factual material, is frustrating.
  12. Titane
    For its sheer silliness and towering pointlessness, Julia Ducournau’s gonzo body-horror shaggy-dog story deserves some points.
  13. All My Friends Hate Me
    This struck me as that kind of comedy horror in which (like much romantic comedy) the “comedy” half of the equation has gone missing.
  14. Shock Wave 2
    Despite a few modish touches, this feels fundamentally very old-school, and not necessarily in a good way, right down to the repeated shots of people running away from fireballs in the background.
  15. Midnight in the Switchgrass
    Even though it’s largely deeply undistinguished work, credit is due to whoever rustled up some great supporting actors for little roles around the edges, such as Welker White as the mother of one murdered kid, and Samiah Alexander, who is a hoot as a punctilious trucking company secretary.
  16. A Nightmare Wakes
    It’s a dry and somewhat lifeless tableau.
  17. Vacation Friends
    The base ingredients are here – a charming, comically adept cast, a fun culture clash set-up, idyllic scenery! – but they’re carelessly tossed together rather than combined with any thought, care or even slickness.
  18. Agony
    It’s a shame that, for all of its unnerving tonal registers, not to mention a gorgeous score, Agony winds up with a painfully predictable ending.
  19. Bullet Train
    It rattles strenuously on and on and on with unexciting and uninterestingly choreographed fights, cameos which briefly pep up the interest and placeholder non-lines where the funny material should have gone.
  20. We Need to Do Something
    It’s moderately diverting Halloween filler – earning points for reviving Taco’s electropop cover of Puttin’ on the Ritz – but still way too static to become actually entertaining.
  21. The Superdeep
    To begin, there are a couple of genuinely repulsive horror moments, but things get silly very quickly.
  22. Battle of the Bulge: Winter War
    It all feels very dated and artless, like someone’s grandpa wrote the script 50 years ago and it was found in a drawer, then financed and made with a not inconsiderable budget for extras, vintage tanks and lots of old uniforms.
  23. Unearth
    Like the drilling operation, this was a script in sore need of a clean-up operation.
  24. Triumph
    This underdog, coming-of-age sports movie has a big heart but lacks the competency to execute its aspirational premise.
  25. Out of Death
    The film squanders one or two promising plot ideas, and winds up making a hamfisted paean of praise to the idea of “open carry” gun ownership.
  26. The Addams Family 2
    As charmless as its predecessor, The Addams Family 2 is without an iota of ooky, nor any shred of kooky. Really, it’s just kind of ghastly – and not in the intended way.
  27. Encanto
    There are some nice moments and sweet showtunes, but Encanto feels like it is aspiring to exactly that sort of bland frictionless perfection that the film itselfis solemnly preaching against, with a contrived storyline which wants to have its metaphorical cake and eat it.
  28. Mosley: It's Complicated
    The film feels more like an authorised biography than a documentary, and for that reason it’s a little dull.
  29. Plurality
    Plurality could have put a fresh twist on big-budget Hollywood efforts, but falls flat on both the production design and the narrative front.
  30. Toofaan
    Partly set in the Mumbai underworld, Rakeysh Omprakash Mehra’s boxing drama aims at Raging Bull grit but has an unfortunately irresistible drift towards late-Rocky melodrama.
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