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. 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.
  2. Apollo 13: Survival
    Middleton’s film makes the case for remembering the Apollo 13 mission in all its mundane, dated, precise details – a real, rare and breathtaking tale of survival and ingenuity, clearly and painstakingly told.
  3. Joker: Folie à Deux
    Though it ends up as strident, laborious and often flat-out tedious as the first film, there’s an improvement.
  4. Rebel Ridge
    There’s such electricity to Rebel Ridge – I just hope enough people get the chance to feel it.
  5. Queer
    Craig is so dominant that sometimes it seems that Gene is almost not worthy of him. Craig is strangely magnificent.
  6. Red Rooms
    A lead performance of pure sociopathic intensity is what makes this serial-killer horror stand out.
  7. My First Film
    You can’t help but admire Anger’s audacity, sly humour and film-making chops.
  8. I'm Still Here
    Salles’s imperfect, hobbled film tells us that hope springs eternal and that joy is a given and that most happy families will find a way to survive.
  9. Wolfs
    The film itself never amounts to much more than a silly, self-satisfied crime caper, but the headline stars look as though they are enjoying themselves and their sense of fun, by and large, is infectious.
  10. Night Courier
    I didn’t feel the movie maintained the dramatic tension enough to work as a lean thriller, but as a portrait of a toxic man who thinks he could be a contender it’s funny and disturbing, with an impressive lead performance by Aldokhei.
  11. And Mrs
    The upside to casting Bea in a comedy is that she’s an absolute hoot. When Hollywood stars play ordinary civilians, there’s often a slumming-it quality to their performances, but Bea is funny and real, sarky and very likable as Gemma, who’s feeling guilty after Nathan dies.
  12. 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.
  13. Kill the Jockey
    It’s too skimpy and self-conscious, more a series of gestures than an organic whole. But Ortega frames his action with a delicious high style, interspersing tense standoffs with formal dance sequences. He gives the impression that all his characters are locked in a bizarre hothouse romance, even when they are chasing or attempting to kill one another.
  14. Touch
    If we’re nitpicking it’s fair to say that neither of the couple’s interior lives are as fully fleshed out as would be permitted in a novel, but maybe they don’t have to be: they function as avatars for romantic hopes and dreams as much as anything, delivering all the vicarious pleasure and pain that we’re looking for when we tuck into a good romance
  15. The Count of Monte Cristo
    The pay-off is a fast-moving, good-looking gallop of Mission: Impossible-style mask play, languorous conniving in courtyards and occasional outbreaks of derring-do that chews up three hours without pausing for quail sandwiches.
  16. Beetlejuice Beetlejuice
    It’s a likable exercise in nostalgia; a joyride through old haunts. Burton’s underworld caper contains plenty of second-hand spirit; what it craves is fresh blood. What it needs is some substance.
  17. Paradise Is Burning
    Like an unusually designed coat featuring quirky details and an interesting fabric choice from a young designer’s first collection, Swedish writer-director Mika Gustafson’s feature debut has raw edges and some sloppy stitching in places, but the whole is fresh, directional and beautifully cut.
  18. Black Dog
    Its heartwarming aspect comes framed with real grandeur, and a stark absurdism and tightly wound sentimentality reminiscent at times of Takeshi Kitano.
  19. The Mountain Within Me
    And in terms of docs about people with disabilities, this one is pretty honest about the mental anguish of losing mobility and – in a sideways fashion – addresses how such a change particularly affects men like Ed and Ben, hyper-masculine dudes whose identities are tied to their physical abilities.
  20. The Killer
    It humbly presents the optional but delightful spectacle of watching John Woo have fun again.
  21. Incoming
    The Chernins are savvy enough to not wrap the whole thing in a neat “just be yourself” bow in the end, but Incoming could have worn a little more of its heart on its sleeve.
  22. Caligula: The Ultimate Cut
    It all makes for something startling, amusing and bizarre.
  23. Swan Song
    By the end, ballet as practised here does indeed look a bit punk rock.
  24. Cadejo Blanco
    The tension leaks away in the second half; the film could have done with being snipped by a good 20 minutes.
  25. The Supremes at Earl's All-You-Can-Eat
    This is erratic storytelling, like a bunch of detached sketches and monologues, that leaves The Supremes at Earl’s All-You-Can-Eat making gestures towards the movie that it never really becomes. Let’s just hope we can see that movie some day.
  26. The Crow
    It’s genuinely startling just how utterly wretched the finished product is and how unfit it is for a wide release.
  27. Kneecap
    The film really comes to life in the actual hip-hop scenes; the musical sequences have originality, comedy and freedom. The rest of the time, the film looks worryingly like a late 90s-early 00s cool Britannia geezer-gangster romp.
  28. Blink Twice
    It’s about misogyny and abuse and memory and materialism and gender performance and many other things that would be a spoiler to mention. It’s therefore less of a plate and more of a buffet, and while it might be beautifully served, it’s a film about excess that suffers from it too, a case of too much leaving us with too little.
  29. Hell Hole
    Existing as a labour of love isn’t enough by itself to earn any film a pass mark, but when the result is a committed piece of indie genre work with a suitably silly sense of the macabre, this gets the job done.
  30. Widow Clicquot
    It’s not quite the full grand cru period drama from the Merchant Ivory vintage, but rather a semi-sparkling biopic.
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