The Guardian's Scores

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:
6585 movie reviews
    • 30 Metascore
    • 40 Critic Score
    Script and acting are equally shaky. [27 Sep 2008, p.55]
    • The Guardian
  1. For me it never gets to grips with the real issue for Pornhub, OnlyFans or indeed Facebook: are these sites publishers or platforms? If they derive profit from the content they host, then should they be responsible for it, or not?
    • 65 Metascore
    • 40 Critic Score
    Joan Collins is the only person in this film who seems to be enjoying the fact it's a big camp mess.
  2. This is lightweight, forgettable stuff.
  3. The close-knit ethos might well explain the franchise’s gleefully perverse sense of fun, but the truth is this love-in features too much filler.
  4. A competently made yet maddeningly dull attempt to bring the hit video game to the big screen makes for an instantly forgettable night at the movies.
  5. Racing towards its splattery finale, it just about qualifies as lively schlock, and is likely your one chance to see Crowe in flowing robes piloting a Vespa to the strains of Faith No More.
  6. What a shortchanging of Af Klint’s extraordinary life and work this is.
  7. Appreciation for the artistry of the John Wick series redoubles frame by crummy frame.
  8. Red, White and Royal Blue just isn’t the fun, brain-disengaged romp it could have been, any praise going toward intention rather then execution.
  9. A smarter, sharper film might have explored what happens next in an otherwise happy marriage when the spark goes out. Instead, the comedy here is as broad as it gets, with some wildly unconvincing and unhilarious set-pieces.
  10. This is very bizarre stuff, even within the traditionally weird parameters of cultural representation in cartoons, but kids won’t mind as it’s one non-stop riot of colour and vroom-vroom movement.
  11. Liu almost manages to throttle up how Lei and the instructors push themselves and their planes into something dramatically interesting, but it never ignites. In the meantime, this is less a movie, more a flying foreign policy document.
  12. Throughout it all, Kemper visibly strains to temper her comedic impulses. Sometimes she delivers her lines with a quickness that feels refreshingly out of place, but it’s mostly call-and-response songs along the trails and heart to hearts under the stars.
  13. Some deeply muddled non-storytelling and tonal blandness pretty much sink this movie from the outset, despite its decent cast and origins in a potentially fascinating true story.
  14. There are some strident cliches alongside redundant self-harming machismo in this sub-Schraderesque movie about New York paramedics.
  15. The performances are very strong, and there’s a great sisterly relationship between Bemba and Gohourou; they deserved a more substantial story.
  16. Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption.
  17. Breillat’s movie rolls along capably enough while the affair is in progress, but it’s tested to destruction when things go wrong. She is not good at delivering the iciness crucial to the story’s third act, happier as she is with the sunny, languorous sexiness of the amour fou.
  18. It’s as if the film doesn’t quite trust its original moments to stand alone, and instead feels the need to signpost everything.
  19. As for Malek’s performance, his line readings and screen presence are very distinctive, but I have to say the moments when he has to present anguished emotion to the camera do not quite work, and feel eccentric.
  20. Cobwebbed would be more accurate, perhaps: every detail is secondhand, if not downright hoary.
  21. Some guilty pleasure thrills are what’s on offer but they are frankly annulled by Liam Neeson’s autopilot dullness, a driverless car of a performance from an actor we know to be capable of much more.
  22. It doesn’t help that the film takes itself with Deliverance-like seriousness, and fails to really acknowledge its absurdity.
  23. The 99-minute film is long on yelling and guffaws, short on punchlines.
  24. It’s competently acted and made – her direction easily trumps her writing – and while there’s nothing close to suspense, there are some effectively visceral moments of gore.
  25. Despite a very game lead performance from Heather Graham, and some amusing 90s-style erotic thriller mannerisms – voile curtains blowing on a hot summer night while a sex scene happens to a wafting sax accompaniment – this left me not knowing quite where to look.
  26. With Ladybug doing as much mooning as superheroing the girl power message feels more afterthought than heartfelt.
  27. When the traps begin, they’re as gnarly as ever, if not gnarlier, and with very little suspense about the outcome given how they tend to end, we’re reminded of what a Saw film is: a juvenile endurance test.
  28. In the end, the film looks like something that’s been salvaged in the edit, as it muses boringly on life’s great imponderables.

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