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. The East
    Covering the Indonesian war of independence through the viewpoint of the occupier, The East is yet another pale addition to the format, rehashing empty metaphors that are barren of emotional complexity, historical poignancy or visual ingenuity.
  2. The Divide
    This is a well-intentioned film with some forthright performances, although there’s a fair bit of actorly shouting going on and the smiley spaciness of Bruni-Tedeschi can sometimes feel a bit affected.
  3. Petrov's Flu
    No one could doubt the technical mastery of this movie and its formal audacity. But for all that, I found something unliberating in its mercurial restlessness.
  4. Between Two Worlds
    Neither of the two worlds of the film’s English title is illuminated clearly enough
  5. Luz: The Flower of Evil
    The film is depressingly thin on the women; often it seems more interested in arranging them in arty tableaux than investigating the way that isolation has shaped their personalities and how they see the world.
  6. Nope
    There is something clotted and heavy about this film, with sadly not enough of the humour for which Peele justly became celebrated in his double-act days with Keegan-Michael Key. It’s not the positive response I wanted to have.
  7. Off the Rails
    The net effect of Debbie Harry popping up at 10-second intervals on the soundtrack to top up levels of ironic sass is to highlight how that quality is in generally short supply in the script.
  8. The Electrical Life of Louis Wain
    Director Will Sharpe is a potent talent whose early movies Black Pond and The Darkest Universe I loved – but this is a strained film, overwhelmed with self-consciousness at its own unearned period-biopic prestige.
  9. Zone 414
    The script feels completely devoid of ideas about what the future of AI might look like. But what it does prove is that Pearce adds a basic layer of credibility to any film simply by showing up.
    • 31 Metascore
    • 40 Critic Score
    Voyage of the Damned
    The problem is that Rosenberg's drama all but sinks under the weight of its serious subject matter and ponderous script; and there are too many iffy performances from the big-star cast (Faye Dunaway, James Mason, Orson Welles and all). [04 Feb 2006, p.53]
    • The Guardian
  11. The Survivalist
    The head of steam Keeyes endeavours to build up gets drained away by the endless barely relevant flashbacks.
  12. The Unforgivable
    The plot’s twists and turns, which were manageable in a three-part TV drama, look contrived and unlikely in a feature film and Bullock has little to do but look self-consciously solemn and martyred for the entirety of it.
  13. There's Someone Inside Your House
    Director Patrick Brice is so distracted with trying to be of the moment that he forgets to make his film base-level fun or at times even base-level coherent, its thesis crammed into a laughably on-the-nose killer speech where buzzwords are clumsily crashed together, trying to make a point about something but ultimately saying not a lot about anything.
  14. Night Teeth
    Night Teeth isn’t quite as dreadful as its truly dreadful title but it’s just as forgettable.
  15. Best Sellers
    It is mainly a rather silly high-concept dramedy intercut with maudlin moments, and the sentimental keynote inevitably dominates by the end.
  16. Back to the Outback
    The aesthetic of the animation is, like the script, rather nondescript, with boilerplate-looking gloss and shine – like any number of less memorable DreamWorks or Pixar productions
  17. Single All the Way
    It’s pure mass market Christmas cookie cutter stuff that’s only made vaguely interesting in very short bursts because of its queerness.
  18. The Deer King
    Juggling palace politics, magical animals and medical ethics, The Deer King can’t get over major pacing problems: the emotional moments are not given enough time to land, as the plot rushes to its next world-building intrigue.
  19. Clean
    Apart from the occasional bit of voiceover from Clean, our hero barely says much at all, leaving it to Brody to do a lot of acting with those big sad eyes. It makes the film feel a bit like a silent movie but not one of the good ones.
  20. The Last Bus
    Try as I might, I couldn’t make friends with this weirdly unreal and sentimental Britmovie in the last-journey-with-someone’s-ashes genre. But it is certainly acted with commitment and integrity by Timothy Spall.
  21. Julia
    Without that initial fanbase buy-in, Julia feels like a redundant tribute, with something very indulgent about the “foodie” rhapsodising.
  22. Copilot
    Anne Zohra Berrached’s film is ambitious and interestingly intended, but naive and flawed, with a fundamental problem, which is right up there in the title.
  23. Encounter
    It all adds up to less than we hoped, though Pearce’s direction is never less than confident.
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