The Guardian's Scores

Select another publication »
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
view
per page
  1. It's Raining Men
    It’s silly and flimsy but sometimes oddly daring; director and co-writer Caroline Vignal coolly protracts certain scenes, extracting their potential for softcore eroticism where the standard-issue romcom would cut smartly away, having coyly established what was going to happen.
  2. A Working Man
    Some of the movie’s cartoon mayhem is fun enough. The rest feels like, well, work.
  3. Juliet & Romeo
    There is no radical reinterpretation of Romeo and Juliet here, and the staging, costumes and performances look as if they come from something as trad as Zeffirelli’s 60s version … only it’s modern-language. Not worth the two hours’ traffic of their stage.
  4. The Alto Knights
    There is a kind of solidity and force to the film in its opening act, but its interest dwindles and we get little in the way of either ambition or moment-by-moment humour.
  5. Borderline
    The screenplay isn’t nuanced enough to switch between modes in a way that feels intentional and the result is the sense that there are a few different films jostling for attention.
  6. The Witcher: Sirens of the Deep
    Movements are very fluid, but expressions limited and there are buckets of cartoon gore, in a deep ruddy red that recalls mass-produced tonalities of fake Persian carpets.
  7. 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.
  8. Dark Match
    The visually overworked Dark Match feels oddly underworked at the same time.
  9. Rabbit Trap
    Chainey is certainly skilled at distracting us, drowning his film in atmosphere and mood to offset the devolving half-baked hokum of his plot.
  10. The Wedding Banquet
    Tran and Gladstone keep the movie watchable, mixing prickliness and warmth in a situation that’s more common than movies often acknowledge: a partnership where one person is far more invested in parenthood than another.
  11. The Thing with Feathers
    Quite simply: when the crow is off the screen, the drama starts to be involving and affecting. Once the crow is there, the film looks self-conscious.
  12. Jimpa
    The coming-of-age parts of the film centred on Frances work a little better, but for all that, and despite Lithgow and Colman’s commitment, this is very uncertain.
  13. Magic Farm
    There’s bits of misplaced humor, a firm sense of place and promising performances, but frustratingly little magic to be found here.
  14. Atropia
    The aimless and unfunny shenanigans of Atropia never really lead to anything and they certainly don’t lead us anywhere that demands the sudden level of dramatic seriousness that the ending brings about.
  15. Oh, Hi!
    While the film does happen upon a real, and painful, truth of the problems that come from dating without a label, as things start to devolve, it becomes harder to understand how they ever found themselves here.
  16. Two Women
    There are one or two interesting moments: including an intriguing discussion of the idea that Tinder is anti-love and in fact just promotes addiction to the app, which is inimical to actually finding a long-term partner. But really this is a very tiring and mediocre film.
  17. The Life List
    The word “messy” is bandied around by its characters but The Life List is far too clean.
  18. Smurfs
    This very uninteresting and uninspired story plods along for an hour and a half, though there are some almost-interesting surreal scenes when our heroes find themselves in weird alt-universe dimensions.
  19. Picture This
    Though the two leads are capably charming – or, in the case of Tiffin, baseline attractive as a nice hometown guy not given much to do – the movie still has the imprint of a tech company’s content assembly line: cheaply made, over-lit, bumpily paced, ludicrously dialed-up characters without much comic payoff.
  20. After the Hunt
    The movie is clenched with its own sense of contemporary relevance and risky blurred lines, saddled with an almost deafening score that often grinds straight through the dialogue; the drama becomes an atonal quartet of self-consciousness.
  21. Sidelined: The QB and Me
    This is a straightforward and edge-free romance for younger teens. The script is laden with examples of what execs will be hoping is authentic Gen Z argot, though lines such as “I am sick and tired of your main character energy” sound like they’ve been plucked from A Handy Guide to Understanding Your Teen.
  22. September Says
    This is a movie that strains and contorts for its effects; the performances are strong – strong enough to carry the big twist – and Labed might have absorbed Agnieszka Smoczynska’s comparable film The Silent Twins, although that was unselfconscious and heartfelt in a way that this isn’t. It’s a film that feels actorly rather than real.
  23. Fear Street: Prom Queen
    A misfire not quite bad or powerful enough to undo Janiak’s great work but one that questions whether the world of Fear Street is one we need to spend much more time exploring. If the introductory trilogy started us off on a thrilling journey, here we’re brought to a sudden dead end.
  24. The Parenting
    As a comedy, it stops being funny and as a horror it never starts being scary with Johnson’s direction far too drab and lifeless for something so cartoonish and schlocky. Big swing, bigger miss.
    • 75 Metascore
    • 40 Critic Score
    Jean de Florette
    What Pagnol wrote about his book was much more affecting than anything in this cliche-ridden film, full of cardboard characters and pretty views.
  26. Nobody 2
    This sequel from Indonesian action director Timo Tjahjanto, co-written by the writer of the original, Derek Kolstad, really doesn’t have much of the humour and the storytelling chutzpah of the first film.
  27. Clown in a Cornfield
    The big reveal, while illogically daft, does have a certain on-paper thematic novelty to it but it’s cursedly both over-explained and hard-to-really-understand, a “why are you doing this?” response that rambles into nonsense.
  28. The Rivals of Amziah King
    McConaughey may be a capable driver, but this is an unwieldy vehicle – oversized, overlong and altogether way too many parts to run smoothly.
  29. Asian Persuasion
    Sadly, this tonally shaky and borderline-sociopathic outing doesn’t have the class or skill to be part of the much-needed renaissance for the genre.
  30. Shadow Force
    Though it’s positioned in the early days of the summer movie reason, Shadow Force winds up as an unintentional advertisement for staying home.
Page:

Top Trailers

See all »
See all trailers »