The Guardian's Scores

Select another publication »
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
view
per page
  1. Please Baby Please
    The film feels over-determined and self-satisfied.
  2. Knock at the Cabin
    The Sixth Sense director’s apocalyptic mystery horror is short on both mystery and horror and the ambiguous finale is deeply ridiculous.
  3. Spirited
    The decision to make the film a musical is a genuine head-scratcher, one that’s never justified or even mildly explained given that the two leads are not natural singers and so throughout the lunges into song feel awkward at best.
  4. Your Place or Mine
    Even as glossy run-of-the-mill formula, it’s never even close to being as funny or romantic as it needs to be, devoid of fizzy one-liners and hampered by the pair struggling to muster up chemistry during phone conversations that never feel as lived-in as they would for friends with such extensive history.
  5. Marlowe
    There’s a little bit of fun and interest along the way and Lange has some fun with her eccentric persona, but this feels under-energised.
  6. Falling for Christmas
    A film like Falling for Christmas doesn’t try or need to break the mold, it doesn’t even need to be that good, it just needs to be low-level competent and as these films go, it’s just about passable enough for those who tend to start getting excited about the festive period at least two months early.
  7. A Haunting in Venice
    No amount of spooky jump-scares can save Kenneth Branagh’s latest Christie adaptation, which wastes its atmospheric setting and stellar cast.
  8. Plan A
    The will-they-won’t-they succeed in carrying out the poisoning plot makes for pretty flat drama, and for a film about people who have suffered so much, this really fails to make us care about the characters.
  9. All Is Vanity
    Sadly, this fatally self-conscious and self-aware movie fizzles out– a process that seems to start with the opening credits.
  10. A Man Called Otto
    Hanks carries the film with his personality and his easy address to the camera, but this oddity of a film never quite comes to life.
  11. Bar Fight!
    Bar Fight! wants to be the best night out of your life, but – mistaking dodgy drunken acting for ambience – it feels pretty ersatz throughout, like one of those pseudo-Irish bars that has bought in all its decor.
  12. Hunted
    Hounded’s take is caricatural enough to neuter much sense of actual threat and stop it from being the Brit multicultural answer to Deliverance it sometimes feels like it’s stretching for.
  13. Renegades
    Unfortunately, the dialogue sounds as if it was written by one of those newfangled AI chatbots, or maybe an actual human being who aspires to write as well as an AI chatbot but is not there yet.
  14. Christmas Bloody Christmas
    So if current hit Violent Night sounds a little too classy and mainstream, then here is this shoddily made but tinsel-bright gift for you, the cinematic equivalent of a cheap soap and body lotion set bought at the last minute. It’s serviceable, but not a lot of thought went into it.
  15. You People
    Mercifully, Murphy adds a dose of sharpness to the project, wrapping his lines in a delivery so sleek and spirited you’d almost think they were funny. And as for the central couple? The one that just wants to get married, culture clash be damned? They’re nice. So nice. Too nice.
  16. Plane
    It’s just about diverting enough for the most part but there’s something a little off about its pacing, French director Jean-François Richet (who peaked a while back with his propulsive Mesrine movies) struggling to corral his moving parts, suspense never really arriving as it should.
  17. The Old Way
    A lot of True Grit-style grizzled-guy-smart-kid bonding that’s hackily written but reasonably watchable thanks to Cage and Armstrong’s screen chemistry.
  18. Boston Strangler
    A director like Jonathan Demme or David Fincher would have gone for the jugular on this kind of material, but writer-director Matt Ruskin seems a little squeamish and keeps everything on the right side of contemporary taste. The chill of fear is missing.
  19. Beau Is Afraid
    Joaquin Phoenix is on really uninteresting form, playing to his weaknesses as an actor as he gives a narcissistic performance of pain, sporting a permanently zonked expression of anxiety and torpid self-pity at the misery that surrounds him.
  20. Somebody I Used to Know
    This is an odd combination of broad semi-satirical humour and deeply serious hugging and learning.
  21. Luther: The Fallen Sun
    It’s all socked over with great and gruesome conviction, but there isn’t the same character-related interest as the TV series could generate.
  22. Ambush
    It’s both by the book and dispiritingly vague.
  23. Cat Person
    The chillingly unanswered questions of the story are all given the most obvious answers imaginable and relatability is carelessly tossed aside, along with logic and investment.
  24. The Wandering Earth II
    At nearly three hours long, The Wandering Earth II is packed with expository science talk, which gets more convoluted and tiring as the clock ticks on.
  25. Shadow Master
    Shadowy it is indeed, but mastery is more questionable.
  26. Sometimes I Think About Dying
    Ridley though is consistent and sort of revelatory, an actor who has struggled to find her footing post-franchise as is often the case, delivering a surprisingly nuanced and deeply felt performance.
    • 52 Metascore
    • 40 Critic Score
    Run Rabbit Run
    Snook, of course, is typically excellent, fresh from her turn as Succession’s petulant, scheming Shiv Roy in another spiky role here – but even her performance, as it heightens towards a crazed delirium, recalls Toni Collette’s in Hereditary.
  28. Eileen
    The performances from Hathaway and McKenzie are vehement and watchable, but the film itself is an unsatisfying and anticlimactic oddity.
  29. We Have a Ghost
    It’s not that its heart isn’t in the right place, it’s just that its heart has been transplanted from somewhere else.
  30. Theater Camp
    For all the grand gestures of musical theater, there’s an odd flatness to Theater Camp, a half-hearted and lackluster comedy from a group of Hollywood friends set at a summer performing arts community.
Page:

Top Trailers

See all »
See all trailers »