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. Sword Art Online the Movie -Progressive- Scherzo of Deep Night
    Perhaps this works for gamers, or within the context of the larger Sword Art Online mythos, but it seems a painfully rote instalment – a bit like being stuck watching a particularly garrulous and boring YouTube gamer.
  2. Landscape with Invisible Hand
    A bafflingly botched misfire ... Quite what the film is and who it’s for remains a head-scratcher, a stilted jumble of somethings boiling down to nothing.
  3. White Men Can't Jump
    White Men Can’t Jump didn’t miss the first time, and it continues to resonate like a Shaquille O’Neal alley-oop. The reboot, a basic nostalgia play, shouldn’t scam anyone.
  4. Seriously Red
    This is a film that is trying very hard to be liked, while at the same time complacently assuming its likeability is beyond question.
  5. Inside Man
    In the end this feels a bit too much like a knockoff of a superior product, like something one of these guys would sell out of the boot of their car.
  6. Raging Grace
    It generally feels secondhand, though the final musical scene has an authenticity and heart that the rest lacks.
  7. Air
    This film winds up looking like the most expensive in-house corporate promo in history: shallow, parochial and obtuse. By the time the credits roll, we’re apparently supposed to be euphoric – not so much at individual sporting achievement, but at all the billions of dollars that Nike has been making.
  8. One True Loves
    There is little payoff, with Fickman running shy of the full-blooded commitment to make his film a proper weepie and instead constantly reverting to sassy, annoyingly self-aware comedy that makes light of everything.
  9. Epic Tails
    Nearly everything about Epic Tails feels a bit underwhelming, and limited imagination-wise.
  10. Love Again
    Love Again, by ceding some space to the Queen of Feelings, has moments that play. I can’t say it was good, but that doesn’t mean I didn’t enjoy it.
  11. The Magician's Elephant
    It’s heartfelt and sweetly earnest, but humdrum and disappointingly unmagical. The animation doesn’t help: characters speak with blank paralysed faces as if they’ve had botched Botox.
  12. She Is Love
    A waste of great talent, sadly.
  13. Three Day Millionaire
    What’s missing is a sense of what’s at stake – we never quite get a feeling for how desperate these men are, and for the most part they feel a bit too familiar from the Britcom playbook. That said, Burrows brings cheeky-chappie warmth to the character of Curly.
  14. Ocean Boy
    Atkins uses these settings as pretty scaffolding for otherwise ordinary scenes.
  15. My Big Fat Greek Wedding 3
    Its brief, brushed-off moments of anti-levity stand out, maybe because as a director, Vardalos does not have the comic touch required to provide the escapist distraction the movie is going for.
  16. The Strays
    British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.
  17. A Family Affair
    The initial setup is great, the Ephronesque excitable phone conversation montage is tolerable, but the cliched breakup and makeup plot transition clanks.
  18. Pain Hustlers
    Blunt remains committed to the end but even she can’t add a shine to the drab last act, the pleasure of seeing her on screen replaced with the pain of another undeserving project.
  19. Golda
    As a war movie, it’s bafflingly dull; as a political-intrigue drama, it’s lifeless; as a personal portrait of Meir, it’s inert and superficial.
  20. The Machine
    The Machine is as surprisingly stylish as it is surprisingly unfunny.
  21. Superpower
    Penn’s aim might be true, but his appetite for adrenaline appears to trump his ability to justify why he occupies a position in the red-hot center of a global crisis.
  22. Afire
    In the end I felt that the film fully achieves neither the ostensible comedy of the opening, nor the supposed sadness of its denouement.
  23. Mafia Mamma
    Not even the fierce wattage of Toni Collette’s talent can light up this hokey crime comedy.
  24. Jackpot!
    Despite the action-comedy bona fides of director Paul Feig, helmer of the far more entertaining Bridesmaids and Spy, and the comedic chops of Awkwafina and John Cena, Jackpot! is an unsteady balance of dark and light, a tinny and discordant mishmash of stunts, ridiculous characters, ludicrous stakes and attempts at zeitgeist.
  25. Haunted Mansion
    Lakeith Stanfield, Rosario Dawson, Owen Wilson and Jamie Lee Curtis cannot save this laborious story of a creepy old dwelling and the awful Hatbox Ghost.
  26. The Resurrection of Charles Manson
    A few more passes through the editing suite have improved things, but the film is still a raggedy-assed mess, with apparently significant characters’ stories pruned back to stubs and loose endings like blasted shards.
  27. To Catch a Killer
    The plot proceeds like a mid-season episode of CSI: Anywhere, just with better cinematography and a mournful cello score.
  28. Flamin' Hot
    It’s cheerily done and competently made but broadly sentimental to a fault, the strings being pulled too visible for the film’s many coerced moments of emotion to really work. For a film all about the importance of heat, it’s frankly lukewarm.
  29. Problemista
    An explosion of pass-agg hipster quirkiness is what’s offered here, an everything-everywhere-all-at-onceuniverse of cutesy vulnerability and pseudo-childlike ersatz charm.
  30. Stalker
    That sweaty, close-to-a-nervous breakdown tense feeling of being trapped is nowhere in the film. And where the script goes in its pulpy nasty final twist felt to me like a disturbingly misogynist move.
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