The Guardian's Scores

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For 6,571 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: 2,490 out of 6571
  2. Mixed: 3,762 out of 6571
  3. Negative: 319 out of 6571
6571 movie reviews
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  1. 2073
    2073 is certainly a relevant shout of rage against the authoritarian forces despoiling our democracy and our environment – and the bland and complaisant naivety that’s letting it happen.
  2. The Lost King
    It’s a fascinating story but the resulting film insists on a kooky relatability that isn’t really there. A misfire.
  3. A Sexplanation
    In fashioning a call for better sex education in the American school system, Liu is an enjoyably charismatic guide, as his doubts and questions about the birds and the bees mirror many of our own.
  4. The Desperate Hour
    Before things go south, there’s an effectively clammy escalation of panic as Watts leaps from call to call . . . But the script, from Chris Sparling . . . isn’t quite ingenious enough to find ways to involve her in the drama.
  5. The Worst Person in the World
    Trier has taken on one of the most difficult genres imaginable, the romantic drama, and combined it with another very tricky style – the coming-of-ager – to craft something gloriously sweet and beguiling.
  6. 7 Prisoners
    With a Brechtian approach that compels the viewer to question both their own ethical assumptions and tacit complicity in a worldwide consumerist culture that exploits people all over the planet, 7 Prisoners is deeply uncomfortable but utterly compelling viewing.
  7. Profile
    Profile is a pretty conventional thriller with pretty conventional stereotypes.
  8. The Keeper
    It’s a really watchable film, more substantial than most sports movies and many postwar dramas.
  9. Burden
    This movie is about as subtle as a sledgehammer, with no shortage of cringeworthy moments and an uninteresting lead performance.
  10. Ophelia
    This film looks absolutely gorgeous, but apart from its production design it is basically a disaster.
  11. Mary Magdalene
    The performances of Mara and Phoenix are careful and respectful, though with nothing like the lightning-flash of energy and scorn that they have given to secular roles in the past.
  12. American Renegades
    There is a spectacular scene in which someone drives a tank off a bridge, and JK Simmons gives the film some ballast as the guys’ scowling commanding officer, but the rest of the time this resembles a TV movie of egregious averageness.
  13. Infinite Football
    Infinite Football is an austere 70-minute experience, but the eccentric idealism of Laurențiu Ginghină lingers in the mind.
    • 88 Metascore
    • 100 Critic Score
    Shirkers
    This is so much more than a film about a film, it’s about young women breaking the rules set in a conservative country - the process of doing that was a lot more powerful than finishing the actual film.
  15. Wildlife
    It is a quiet, subtle story and, as is so often the case when an actor takes their first trip behind the camera, a showcase for terrific performances.
  16. The Kindergarten Teacher
    The Kindergarten Teacher is probably the only movie about poetry with an ending as tense as any thriller.
  17. The Happy Prince
    This film is a deeply felt, tremendously acted tribute to courage.
  18. Loving Pablo
    The film places a greater focus on the notion of unwilling complicity than most in the gangster genre, but still struggles to produce much original insight.
  19. Colette
    Wash Westmoreland’s Colette is exhilarating, funny, inspiring and (remember: corsets!) gorgeous, too.
  20. The Children Act
    The Children Act is concerned with love, intimacy and moral responsibility and it is refreshing to see a movie which sets itself standards of this sort. But there is also something a little too neat in the way all these things are wrapped up. Emma Thompson’s performance, so elegant and vulnerable, carries the picture.
  21. Lizzie
    [A] gripping, well-acted and sharply-written low-budget drama.
  22. Museo
    Museum is an oddly genial, garrulous film in many ways – rather like Güeros – and it doesn’t behave quite like a heist thriller, nor exactly like a coming-of-age comedy.
  23. Juliet, Naked
    It’s unfortunate that Byrne’s offering such a tremendous performance in a film that is, to put it as bluntly as possible, so very dumb.
  24. A Prayer Before Dawn
    No one would accuse it of breaking new ground, or finding fascinating new paths across its well-worn prison yard. But Sauvaire’s drama is lean and trim and unwavering in its task.
  25. The Miseducation of Cameron Post
    This is a gripping and sad drama that puts a tremendous amount of faith in its performers and audience, and for all the emotion and tenderness in the rest of this year’s Sundance crop, this is the first film that left me a complete broken-down mess by the end.
  26. The Third Murder
    The Third Murder is a captivating puzzle.
    • 74 Metascore
    • 60 Critic Score
    Robin Williams: Come Inside My Mind
    This desire to pull punches in presenting his darker side beyond occasional lip service makes for a viewing experience where we often feel we aren’t getting the whole picture for fear of offending the recently deceased.
  28. Sorry to Bother You
    Despite being about serious matters (labor relations, systematic oppression, racial microaggressions), Sorry to Bother You is slight and raggedy, but when it leans into its surreal, midnight movie instincts it proves engaging and amusing.
  29. Dark River
    Wilson and Stanley are both excellent performers and they are the mainstays of a valuable piece of work, but I felt the ending was contrived and a bit grandiloquent. However, the visual style and fluency of the film are obvious.
  30. Damsel
    Damsel doesn’t go quite where we think it will, but then, surprise detours are rather to be expected in this kind of anti-quest story, and the film sometimes comes across – for all its grotesque, scabrous or surreal touches – as a little more benign than it might have been.
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