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. The Catcher Was a Spy
    The film isn’t a home run, but with Rudd in the lead in something so out of the ordinary for him, it’s fair to call a ground rule double.
  2. The Tale
    I want more people to see The Tale because it’s such an innovative, honest and important film. It is a landmark, and Laura Dern is absolutely extraordinary. But I know for certain I’ll never watch it again.
  3. Mary Shelley
    Shelley’s mistreatment by the literary elite because of her gender is a compelling, uniquely frustrating element and the film deprives us of the suitably grand exploration that it deserves.
  4. First Reformed
    First Reformed is a deeply felt, deeply thought picture; impressive in its seriousness and often gripping in the way it frames itself as a debate and a sermon.
  5. On Chesil Beach
    It is a tender and valuable film, well acted, with a shrewd eye for how naive you can be in your early 20s, how impatient, how pompous, how tragicomically un-self-aware.
  6. Disobedience
    This is richly satisfying and powerfully acted work.
  7. Borg vs. McEnroe
    This tennis film feels like a two-hour baseline rally, and it’s not just the rackets that are made of wood.
  8. Zama
    [Martel's] film is haunted, haunting and admittedly prone to the occasional longueur insofar as it runs to its own peculiar rhythm; maybe even its own primal logic.
  9. Lean on Pete
    Lean on Pete is at its potent, stirring best during the opening furlough, when it focuses on this makeshift hobo family as it criss-crosses the Pacific Northwest from one racetrack to the next.
  10. The Death of Stalin
    The Death Of Stalin is superbly cast, and acted with icy and ruthless force by an A-list lineup. There are no weak links. Each has a plum role; each squeezes every gorgeous horrible drop.
  11. Mom and Dad
    This is an unrepentant midnight movie, dirty and violent and best enjoyed with a steady supply of alcohol.
  12. Film Stars Don't Die in Liverpool
    It’s a beguiling story and Bell and Bening are tremendous as the star-crossed lovers.
  13. Hostiles
    A flawed, but interesting drama.
  14. Foxtrot
    A nightmarish triptych of loss, waste and grief that is nonetheless arranged with such visionary boldness that it dares us to look away.
  15. I, Tonya
    This is a broad, frequently cartoonish romp that plays like a less effective mishmash of To Die For and Fargo. The blunt, unashamed crudeness does provide some laughs but the tonal shifts are often uncomfortably handled.
  16. Brawl in Cell Block 99
    Zahler’s film is entertaining, incorrigible and borderline incoherent – it is the violent drunk at the party, liable to lash out.
  17. Mystery Road
    The whole thing might have been improved by slightly nippier pacing, but the slow-burn action pays off with a spectacular climactic gun-fight, where the distances are so vast it takes half a second for bullets to find their marks.
  18. The White Ribbon
    The White Ribbon is a ghost story without a ghost, a whodunnit without a denouement, a historical parable without a lesson, and for two and a half hours, this unforgettably disturbing and mysterious film leads its viewers alongside an abyss of anxiety.
  19. The Chaser
    It's atmospheric but derivative, and I didn't find the denouement's Christian imagery convincing.
  20. Avatar
    The sheer laborious silliness of Avatar feels like harder work the second time around and its essential problem is more prominent. [2022 re-release]
  21. A Serious Man
    Despite the opaque story line, their film is a glittering, perfectly honed artifice; but what pushes it into the Coen premier league is the sense that, as with Fargo, there's something very personal going on here.
  22. Mary and Max
    You have to admire the ambition, even if Elliot doesn't always seem certain if he's laughing with or at his creations.
  23. You, the Living
    You, the Living is a very funny film - though in the darkest possible way. It is a silent comedy, but with words.
  24. The Hurt Locker
    For my money, Bigelow says more about the agony and tragedy of war than all those earnest, well-meaning movies that sound as if they've been co-scripted by Josh and Toby from The West Wing.
  25. Terminator Salvation
    With much buzzing, beeping and whirring, the Terminator franchise comes to an absolute creative standstill, or even goes clankingly into reverse, with this fantastically dull fourth episode.
  26. Star Trek
    This new Star Trek is fast-moving, funny, exciting warp-speed entertainment and, heaven help me, even quite moving - the kind of film that shows that, like it or not, commercial cinema can still deliver a sledgehammer punch.
  27. X-Men Origins: Wolverine
    The furrowed-brow seriousness of X-Men is its least attractive quality, but that is the mood that dominates in this film. It's hard to see how anyone other than hardcore fans will find much to entertain them.
  28. Coraline
    It’s a nifty little tale of jeopardy and the eternally fascinating idea of breaking away from your parents: part frightening, part liberating.
  29. Inkheart
    CGI fantasy adventures in the post-Potter, young-adult, old-child mode are not quite my taste, but this one is likably boisterous, and Iain Softley directs with flair.
  30. Quantum of Solace
    Quantum of Solace isn't as good as Casino Royale: the smart elegance of Craig's Bond debut has been toned down in favour of conventional action. But the man himself powers this movie; he carries the film: it's an indefinably difficult task for an actor. Craig measures up.
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