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. Tigers
    This is a laborious movie whose final intertitles rather superciliously assure us that Inter Milan has made greater advances than other European clubs on protecting its young players’ mental health. That claim is as cloudy as everything else.
  2. The Reef: Stalked
    Traucki manipulates the suspense competently enough, but this film mostly depends on tedious jump-scares for its effect, and has a few too many scenes where someone looks around in terror at the water with a worried expression.
  3. Orphan: First Kill
    The most disappointing thing about the film is that it has none of the spark or originality of the first one and just parasitically drains its source material, incorporating details like the creepy black-light drawings and the borderline paedophilic subtext without adding anything substantial.
  4. I Came By
    Bonneville’s performance will linger, the film not so much.
  5. Prizefighter: The Life of Jem Belcher
    Despite the film’s historical interest, it plays like a Carry On film without the gags, and the way it is shot makes it look like a coffee commercial.
  6. The Greatest Beer Run Ever
    [Farrelly's] latest commits itself to regurgitating every Vietnam cliche with the laziest possible visual diction, led by an emotionally overextended Zac Efron.
  7. Captain America: Brave New World
    Brave it might be, but there’s nothing all that “new” about the world revealed in this latest tired and uninspired dollop of content from the Marvel Cinematic Universe.
  8. Joyride
    Every actor involved sells it hard and it’s good natured, but the unbelievability factor is just too high.
  9. The Swimmers
    There’s an extraordinary story to be told here. It’s just a shame it had to be told in such an ordinary way.
  10. Book Club: The Next Chapter
    The film is smothered with a syrup of condescension.
  11. Causeway
    Everything about this film means well and it is acted with professionalism and commitment. But there is something too easy about it.
  12. Goodnight Mommy
    Sobel’s direction feels a little lesser when compared with his leading lady, relying on dream sequences to push us to the edge, never getting anywhere close to the iciness of the original or finding anything distinctive enough to separate the aesthetic of his take.
  13. End of the Road
    The action is clumsy. The writing leans on tropes. The dramatic scenes overestimate the artistic range of a charming rapper-turned-actor like Bridges. And director Millicent Shelton makes some curious stylistic decisions along the way, whether it’s amethyst lighting or montages that have the feel of a R&B music video.
  14. Camping Trip
    This is the cinematic equivalent of the stopped clock telling the right time twice a day: a film full of stylistic overkill suddenly runs into the material that justifies it.
  15. Meet Cute
    As hard as Cuoco and Davidson try at chemistry – and Cuoco, at least, seems to be really trying – this umpteenth spin on the Groundhog Day time loop is more irksome than endearing, cutesy than actually cute, a downward spiral of uncomfortably performed neuroticism that devolves into a borderline indefensible ending.
  16. Lou
    The sheer existence of Lou might be a step in the right direction for women over 50 in action movies, but it’s a misstep everywhere else.
  17. Fisherman's Friends: One and All
    This is a well-made film and nice looking, but there’s a tiresome predictability to a few too many scenes. It is a franchise that feels like it’s hit the rocks.
  18. Mr. Harrigan's Phone
    It’s solidly acted by Martell and Sutherland, although the latter seems as desperate as we are to let loose and have a bit more fun, and has a confident sense of place as King adaptations often do but it’s all rather unforgivably dull, a call to be swiftly ignored.
  19. Luckiest Girl Alive
    There are pieces of Luckiest Girl Alive that seem interested in a life splintered by trauma, in the relief of unburdening, the hunger for certainty over what happened, the thrill of playing on cultural expectations for women. But the story it ultimately tells is an empty, self-serving fantasy.
  20. Black Mail
    The lowish-budget production values, gestural performances and blunt moralism of the scriptwriting puts this very much in the heightened dramatic tradition of mainstream Nigerian cinema, but Emelonye has an accessible style and has picked the topical subject of cybercrime, an approach which might broaden the film’s appeal.
  21. It Snows in Benidorm
    Pushing its luck at two hours, this eventually collapses in a heap of its own symbolism, barely unpacking the missing-persons intrigue it started out with. Nice views en route, but it’s a tale scribbled in haste on the back of a postcard.
  22. The Whale
    Fraser does an honest job in the role of Charlie, and Hong Chau brings a welcome fierceness and sinew to the drama, but this sucrose film is very underpowered.
  23. The African Desperate
    Stingily is relaxed and amiable, but in acting terms there may be nothing else there and the film doesn’t develop in any interesting direction.
  24. Master Gardener
    Perhaps Schrader will indeed defiantly return to his accustomed theme for his next film – and this brilliant, restless director might well make it work. Sadly, this one doesn’t.
  25. Jeepers Creepers: Reborn
    Neither slicing under the genre’s surface, nor dicing the heritage well, this reboot is more an unseemly act of IP cannibalism.
  26. Bullet Proof
    In short, this is not very good but there are worse things you could be watching as you fall asleep on the sofa after a heavy night’s drinking, which is exactly what it feels like this was designed for.
  27. The Little Mermaid
    Bailey is the best thing about this film but, despite a team crammed with talent, this live action reworking can’t match the magic of the 1989 classic.
  28. The Retaliators
    Without revealing which one wins out, I can assure you that a huge amount of murderous mayhem is unleashed, including death by woodchipper.
  29. The Lost King
    It’s a fascinating story but the resulting film insists on a kooky relatability that isn’t really there. A misfire.
  30. Butcher's Crossing
    Grisly sights are paraded before the camera (including a castrated hunter and untold bison gore) but Polsky lacks the visual flair to make the shocks visceral or the suffering anything more than superficial.
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