The Guardian's Scores

Select another publication »
For 6,556 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: 2,481 out of 6556
  2. Mixed: 3,756 out of 6556
  3. Negative: 319 out of 6556
6556 movie reviews
view
per page
  1. Killer Heat
    A dull and predictable sunshine noir that wastes the time of those involved as well as ours.
  2. The Wild Robot
    Clever, heartfelt and frequently stunning, The Wild Robot offers the type of all-ages-welcome animated entertainment that will delight kids and leave a lump in one’s throat.
  3. My Old Ass
    Plaza’s natural toughness gives this film some texture, but the truth is she isn’t in it much. You can spend very, very long stretches of the running time longing for her to re-emerge. So, when she doesn’t, it feels bland.
  4. Apartment 7A
    James had impressed with her debut, the dementia horror Relic, but any of that film’s texture or creepiness has dissolved on a larger scale.
  5. One Hand Clapping
    There’s plenty for nostalgists and completists to swoon over. . . . Such a pleasure.
  6. Azrael
    Gorehounds will appreciate the film’s many beheadings and bloody murders.
  7. On Falling
    This is a very impressive debut.
  8. Never Let Go
    [Aja's] never quite sure if he wants to trick us with a jump scare or make us ponder weightier issues and, unable to do both efficiently, the film becomes lost in the murk in-between. Berry is, as ever, a strong anchor but by the time the credits roll, we’re ready to let go.
  9. Strange Darling
    It’s in uncompromising bad taste but made with lethal precision and discipline.
  10. Girls Will Be Girls
    It’s a quiet film, and Panigrahi plays Mira with such poise and intelligence, conveying her innermost thoughts with a slight lift of the chin here or lingering look there.
  11. The Goldman Case
    Kahn orchestrates the angry energy with an expert hand.
  12. Greedy People
    Some good moments and a great cast, but this doesn’t come together.
  13. Sugarcane
    [A] deeply disquieting and indeed enraging documentary.
  14. My Favourite Cake
    There is something quietly magnificent in it. Moments like these in life are poignantly brief – but many never have them at all. It’s a lovely film.
  15. Transformers One
    Breezy, comically self-referential and totally likable. But its charms nevertheless feel like they came off an assembly line – one that has been engineered to deliver Marvel-like results, in animated form of course.
  16. Separated
    The material is sobering and the mountain of evidence needs unpicking. The film-maker handles his brief with the cold, hard precision of an expert state prosecutor.
  17. Astrakan 79
    In addition to confronting the past, Mourão’s film also makes possible an intergenerational dialogue between Martim and his son, the young musician seen in the beginning; he also harbours his own secrets. Emerging from their conversation are sparks of understanding and compassion, which constitute the emotional beating heart of the film.
  18. Last Straw
    It’s encouraging to see low-budget early-career film-making with ambition.
  19. Haunted Heart
    Matters would have been improved from the audience’s point of view, however, if said digging had happened a little sooner; the film takes its sweet time to get to where we sense it’s going, and then quickly runs out of steam when it does.
  20. Harvest
    The ploddingly unvaried pace and undirected, underpowered performances make this an exasperating experience: a directionless, shallow movie which seems bafflingly unconvincing and inauthentic at every turn.
  21. Vermiglio
    It is wonderfully acted with unaffected naturalism by its cast of professionals and newcomers and plays an extravagant, almost shameless pizzicato on the audience’s heartstrings.
  22. The Penguin Lessons
    It’s understandable that a film this gentle wouldn’t venture into the gory details of what happens to Tom during a bruising night in the cells but to gloss over any of the terror a civilian might have felt under the cosh is baffling.
  23. The Return
    Stripping the narrative of its gods and monsters, and almost two-thirds of the chapters, is great but the vacuum isn’t filled with much more than his two magnetic leads and consistently sumptuous cinematography. The Return is gorgeous to behold, but there just isn’t enough there.
  24. Relay
    The subdued carefulness of the buildup gives way to rote, poorly staged action and a twist that might fill in a few plot-holes but leaves us otherwise dissatisfied.
  25. Speak No Evil
    McAvoy is the most compelling reason to see this one. The original may be darker, but it didn’t have McAvoy.
  26. Uglies
    Though it supposedly argues against human beings turned into synthetic quasi-droids, Uglies feels like just another throwaway product.
  27. The End
    At two and a half hours, Oppenheimer’s strange and ambitious deconstruction of human behaviour – with its bleak but adorning visuals and its novel spin on ideas we’ve seen in The Hunger Games and Yorgos Lanthimos’ Dogtooth – can also be draining. Maybe that’s intentional.
  28. The Cut
    The more British director Sean Ellis prods and provokes, the hokier it all gets, a film about cutting weight that could have benefited from a leaner edit.
  29. The Assessment
    Opinions may divide about the extended coda that Fortuné gives her story but it is evidence that she is ambitious for something that eludes so many film-makers: an ending. It’s a stylish debut.
  30. 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.
Page:

Top Trailers

See all »
See all trailers »