The Guardian's Scores

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For 6,573 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 2.3 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: 2,491 out of 6573
  2. Mixed: 3,763 out of 6573
  3. Negative: 319 out of 6573
6573 movie reviews
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  1. You're Cordially Invited
    The real win here is watching Witherspoon and Ferrell show off, both unrestrained by a harder rating and a more raucous script than the norm and while their escalation of bad behaviour might not be quite as bad as it could have been, they both make for wonderfully petty antiheroes.
  2. All That's Left of You
    As the years go by and the trauma festers, the film grows into something thornier, surprising, beautifully textured and deeply moving.
  3. Opus
    It’s frustrating to see yet another first-time film-maker overstack their plate in such a way that feels less like the product of impressive ambition and more empty bravado.
  4. Detective Chinatown 1900
    Tightly paced and snappily directed, this is decent-quality Chinese screwball, if a touch overlong.
  5. Sorry, Baby
    Sharply written, smartly structured and well-acted, with a star-making turn from Victor herself, the 93-minute black comedy is not only nimble and consistently funny, but one of the best, most honest renderings of life after sexual assault that I’ve seen.
  6. Saturday Night
    There’s never the satisfying pleasure of problems being solved – just people frantically raising them and things magically coming together, a film that should be about process that doesn’t seem particularly interested in it.
  7. Together
    There’s something refreshingly blunt about what Together is trying to say about the dangers of codependency, a film too busy having fun to waste time writing a self-satisfied dissertation.
  8. Train Dreams
    At its best, writer/director Clint Bentley and co-writer Greg Kwedar have crafted a gorgeous and poignant film of quiet, bruised life in a fragile place, anchored by a magnificently sensitive and restrained performance from the still-underrated Edgerton.
  9. Rebuilding
    Recovery is shown to be a tough, jagged process and while Rebuilding might not offer much in the way of specifics, it offers a wealth of hope which might be enough for now.
    • 83 Metascore
    • 80 Critic Score
    Luther: Never Too Much
    Vandross’s specific power isn’t always fully articulated here – but his musical brilliance certainly is.
  11. By the Stream
    In its engaging and eccentric way, Hong’s film-making is diverting and intriguing and then it capriciously concludes, leaving things up in the air, yet without making you feel shortchanged. Perhaps this one is slighter than his recent work, but it has a comic charm.
  12. Young Werther
    A film that feels short on real passion, but big on banter and sharp suiting.
  13. Zodiac Killer Project
    It is a deconstruction of genre and a meta story of failure from which the director salvages a teaspoonful of success.
  14. Elevation
    Prospective future instalments might want to aim higher than mere competency.
  15. Day of the Fight
    Not a knockout, by any means, but a win on points.
  16. Kiss of the Spider Woman
    We’re in safest hands with Lopez and Condon when he’s playing in that sandbox as the cell-based scenes can be a little stagey and rushed in comparison.
  17. Give Me Pity!
    Everything about this film is very well observed.
  18. The Colors Within
    While showing Totsuko’s religious beliefs respectfully, The Colors Within takes care to highlight how community can be meaningfully formed outside religion, in the embrace of creative arts.
  19. Dark Match
    The visually overworked Dark Match feels oddly underworked at the same time.
  20. Twinless
    Sweeney’s smart and highly unusual film earns its boundary-pushing because he never loses sight of the inescapable, human sadness at its core. For all of its themes of identical mental and physical connection, Twinless is a true original.
  21. Omaha
    It’s an altogether promising debut for Webley and should-be breakout for the young Wright, who makes you believe that though this film may ultimately fail to distinguish itself from the many tight, slight dramas at Sundance, Ella will always be remembered.
  22. Jimpa
    If Jimpa itself pushes us away, Colman tries to keeps us close, a warm and astute performance of raw, red-eyed emotion remaining entirely real until the end. If only we could have joined her there.
  23. If I Had Legs I'd Kick You
    In just under two hours with a plate filled a little too high, not everything here quite works as well as Byrne, but Bronstein clearly hasn’t made something to be liked, she’s made something to be experienced. I can’t say I’ll forget that experience easily.
  24. Midas Man
    It’s all a bit too sanctified and safe – lacking in rock’n’roll edge perhaps – but Fortune-Lloyd’s core performance is deeply empathic and buoys the film up as it races through the stations of Epstein’s short, sharp shock of a life.
  25. Flight Risk
    The film is, of course, very silly, but diverting and ingenious, and contains game performances from Wahlberg, Dockery and Grace.
  26. Presence
    It is well-acted, disciplined and intimate as a play. But for me it is marred by an early, unsubtle moment of overt supernatural creepiness, which signals a retreat from ingenuity and restraint.
  27. Back in Action
    As it stands, the mostly rather rote Back in Action is best seen as just an excuse to watch Diaz act again, and she’s as charming as she always has been, especially alongside Foxx, with whom she shares a comfortable chemistry.
  28. William Tell
    It’s entirely ridiculous, but performed with absolute seriousness and the result is an innocent amusement.
  29. Emmanuelle
    Even with Noémie Merlant as her lead and no less a film-maker than Rebecca Zlotowski working with Diwan on the screenplay, this Emmanuelle 2.0 comes across as inert and self-conscious, confusing torpor with languor, and endowing the non-sex scenes and also the sex scenes with blankness rather than tension or anticipation or pleasure.
  30. Here
    For a film about living, Here is a remarkably lifeless endeavour.
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