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. No One Will Save You
    A fiery Dever gives it more than the film ends up deserving, though, rising to a difficult challenge with both the virtual lack of dialogue and a string of sequences that force her to energetically react to a range of digital effects, a performance that almost saves the movie.
  2. Elevator Game
    Cardboard characters aside, Elevator Game is also pretty sluggish, despite its relatively short runtime. Plodding through an endless string of dull shot/reverse shots between the quarrelling vloggers, the film finally reaches the dreaded fifth floor, but the payoff is tame and bloodless.
  3. Zoey 102
    At worst, as often is the case with the finished product, it’s so focused on recapturing long past, hazily remembered magic as to be cringe-inducing.
  4. The Kill Room
    Nicol Paone’s flat direction and Jonathan Jacobson’s listless screenplay leave the cast painting by numbers.
  5. AfrAId
    It’s too sloppily written and edited for even the least discerning of horror fans to really enjoy, a patchwork of nonsense confusingly stitched together by someone, who at one point, knew better.
  6. Venom: The Last Dance
    It’s quick and brash and seemingly aware of how goofy so much of it is but it’s also awkwardly overstuffed.
  7. Foe
    The two leads do their best here, but even they cannot scrounge enough feeling out of this desolate sci-fi.
  8. Totally Killer
    There are echoes of Happy Death Day, Back to the Future and The Final Girls in Amazon’s perky Halloween offering Totally Killer, echoes often loud enough to drown out the film entirely. Its time-travel slasher plot cribs elements from all and relies on enthusiasm over invention to keep us entertained, a gamble that only works in brief bursts.
  9. Fingernails
    The evasive, guarded acting from the main players can only do so much to elevate the paltry material Nikou gives them to work with. A long, fitfully amusing walk down a short road.
  10. 8 Found Dead
    There’s a certain amount of nasty fun to be had watching the assorted couples get drunk and tear strips off each other, in a metaphoric sense at least, before the violence kicks off – as if Greene were aiming to make a cross between Scream and Who’s Afraid of Virginia Woolf?
  11. Comandante
    De Angelis offers some muscular film-making, with decent action sequences.
  12. Choose Love
    It struggles to feel at all like a genuine story.
  13. DogMan
    I’m sure there’s a way to make this theoretically fun premise work better, but regrettably Besson hasn’t found it.
  14. Desperation Road
    The direction by Nadine Crocker has all the authenticity of a daytime soap opera. But all the same, there’s no denying that Hedlund and, to a lesser extent, Fitzgerald are pretty good, offering better performances than the film surrounding them deserves.
  15. Candy Cane Lane
    The bizarro plot might help Candy Cane Lane stand out from the bland, busy crowd of new seasonal movies but it’s just as limp and lacking in spirit as the rest of them. Murphy and Ross deserve better, and so do we, and so does Christmas.
  16. Sly
    Zimny could have mined some more intimate profundity from Stallone’s determined political fence-sitting, the reluctance of a born entertainer to alienate any faction of his fandom with vocal partisanship.
  17. Blood Flower
    As Blood Flower trudges towards its conclusion, the film turns out to be a lacklustre trauma-as-plot horror.
  18. Next Goal Wins
    The film is a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way.
  19. Riddle of Fire
    While the core conceit is sort of cute, Razooli really can’t direct actors who aren’t already seasoned with prior experience.
  20. Les Indésirables
    Rejecting partisanship to affect the appearance of balance doesn’t make sense when dealing with situations defined by imbalance. Both Ly’s Hollywood bombast and impulse to undue generosity in his political convictions fight the vulcanized hardness of his bracing outrage, and ultimately prove little about today’s powder kegs.
  21. Lee
    The life it’s focused on, that of model turned second world war photographer Lee Miller, is an undeniably interesting one, but it’s only in the briefest of moments that the film justifies why it’s a narrative endeavour rather than a documentary and every one of those moments comes courtesy of its lead.
  22. Wicked Little Letters
    It’s a depressing seaside postcard of a film.
  23. PAW Patrol: The Mighty Movie
    There must be some limit to how much content you can generate from the franchise’s core formula, which always finds the titular pack of talking puppy heroes saving their perpetually endangered home town, Adventure City, from an assortment of perils.
  24. In the Land of Saints and Sinners
    There’s bits and pieces of entertaining stuff here, a few sharp lines and a gonzo final shootout, but the overall tone of cliche is a bit wearing, correctly signalled in the title, which appears to misremember the phrase “saints and scholars”.
  25. Wildcat
    Ethan Hawke has good taste, and his past undertakings as director have affirmed that, but the biopic’s big built-in pitfall – the psychologically facile connect-the-dots between a figure’s life and works – swallows up his perceptible esteem for O’Connor.
  26. Dark Asset
    Dark Asset finally finds a semi-satisfying groove as John’s grand design is revealed, even if it consists of too many borrowed parts to be a real quantum leap.
  27. The Retirement Plan
    Cage dials it down nicely, keeping his freaky at a gentle 6 out 10. The film cruises along on his charm; it’s otherwise a totally disposable but mostly entertaining action comedy drama with a really stupid plot and a few good laughs.
  28. Dear Jassi
    Having set out to shock and ultimately shatter his audience, a film-maker unwilling or incapable of hitting the tonal brakes succeeds in his mission, only to compromise a deeper dramatic power along the way.
  29. High & Low: John Galliano
    The happy ending redemption narrative is not entirely earned.
  30. The Peasants
    There is visual interest here, but for me the drama isn’t sustained.
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