The Guardian's Scores

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For 6,571 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: 2,490 out of 6571
  2. Mixed: 3,762 out of 6571
  3. Negative: 319 out of 6571
6571 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. Speak No Evil
    McAvoy is the most compelling reason to see this one. The original may be darker, but it didn’t have McAvoy.
  5. Uglies
    Though it supposedly argues against human beings turned into synthetic quasi-droids, Uglies feels like just another throwaway product.
  6. 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.
  7. 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.
  8. 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.
  9. Unstoppable
    Robles isn’t hard to root for but Unstoppable, a rousing yet overdone biopic, tries too hard to get us there anyway.
  10. Without Blood
    Jolie also lays it on thick stylistically, as if compensating for a hollowness at her lavish, sepia-toned film’s core.
  11. The Fire Inside
    Her story is obviously astounding in itself, but what makes The Fire Inside, once called Flint Strong, such an upper-tier sports movie is that Morrison and the Oscar-winning screenwriter Barry Jenkins don’t rely solely on the facts of her life to compel.
  12. The Critic
    The film has an odd teatime glow of cosy-crime sentimentality which deadens the effect, and this period drama can’t quite bring itself to show that, in the 1930s, murder was punishable by death. But McKellen overrides these concerns; his glorious star quality and dash make him the only possible casting.
  13. The Queen of My Dreams
    It slips just a little too easily into the generic pigeonholing of first generation south Asian narratives, but rattles along with fun and energy.
  14. Subservience
    If only the film were a little bit smarter and less predictable, it might have had a chance of becoming a cult classic.
  15. The 4:30 Movie
    By far the best thing in the film is Ken Jeong as the theatre manager, preening and ridiculous, dispensing putdowns with surgically precise comic timing.
  16. Reawakening
    Though a little mannered, the film has intelligence and force.
  17. In Camera
    In Camera is the kind of ambitious intelligent cinema that invites your most mulled-over theories. It will exasperate some; others will be engrossed by an intriguing movie.
  18. Betrayal
    The suspense-building and denouement are adequate enough, but what makes this more interesting is how director Rodger Griffiths weaves in a subtle dissection of how abuse can damage families in different ways.
  19. The Last Showgirl
    The commentary on gender and age feels easy and unspecific and the world of the Vegas showgirl created from too great of a distance to really ring true.
  20. Eden
    It’s all too silly and the writing too hokey for us to keep up and by the end, truly care about who survives or not.
  21. The Vourdalak
    A delirious and oddly agreeable stopover.
  22. Place of Bones
    It’s pretty evident that this is a fairly low-budget film, with that faint sense of hired costumes about the western gear. But it’s entertaining enough and keeps you guessing.
  23. Hard Truths
    Hard Truths is a deeply sober, sombre, compassionate drama about a black British family, with flashes of fun and happiness that are emollient if not exactly redemptive.
  24. April
    It is a deeply unsettling meditation on sexuality and transgression.
  25. Winner
    As far as zeitgeisty nonfiction goes, Winner is one of the better ones, at once entertaining and illuminative.
  26. Nutcrackers
    The more accomplished the film-making becomes, the more we then expect the script to level up too.
  27. And Their Children After Them
    Class and racial tensions come to the boil in this potent tale of disaffected youth in smalltown France.
  28. The Front Room
    The Front Room does capture one delicious, rich truth: hell hath no fury like a mother-in-law scorned.
  29. Damaged
    Damaged isn’t trying to be a meme, it’s playing things completely straight, and trying to be a serious police procedural in the vein of 90s thrillers such as Se7en or Primal Fear. That sincerity, and the apparent genuine commitment of top-tier performers like Jackson, is what makes this ripely absurd film at least half-worth watching.
  30. The Brutalist
    This is a film with thrilling directness and storytelling force, a movie that fills its widescreen and three-and-a half-hour running time with absolute certainty and ease, as well as glorious amplitude, clarity and even simplicity – and yet also with something darkly mysterious and uncanny to be divined in its handsome shape.
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