The Guardian's Scores

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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
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  1. Tyler Perry's Divorce in the Black
    It’s easily his worst film to date.
  2. Unicorns
    Co-directing Unicorns with James Krishna Floyd (the star of My Brother the Devil), who wrote the script, El Hosaini brings a streak of hopefulness to gritty social realism, with the added attraction of superstar drag queens.
  3. A Prince
    A Prince might reinterpret the pastoral through a queer lens, but the point of view remains a white, French one.
  4. Bushman
    This is stylish, energised new wave film-making.
  5. Sleep
    It is only with the explicit possibility of a supernatural explanation, combined with full-on psychiatric breakdown, that the movie loses its light touch and its plausible detail. Yet there’s always a hyper-vigilant twinge of fear.
  6. In a Violent Nature
    From a horror fan’s point of view, this is an absolutely fascinating experiment with form.
  7. Hundreds of Beavers
    The sheer sustained silliness of this spoof silent comedy is what finally compels admiration. It’s like chancing across a bunch of eerily gifted kids by the roadside putting on a bizarrely accomplished, very extended series of magic tricks and circus acrobatic stunts.
  8. The Commandant's Shadow
    Perhaps that final meeting in Lasker-Wallfisch’s front room does not offer closure. Nothing could. An amazing and dramatic historical tableau nonetheless.
  9. Eno
    You could almost call [Eno] a meta-artist. And this is his meta-documentary; it is not, ultimately, as radical as it purports to be, or as revealing as it could have been perhaps (some external viewpoints would have been welcome), but stimulating and cerebral all the same.
  10. Hounds
    The film is perhaps flawed by its ending, which loses a bit of narrative momentum and insists too strenuously on the metaphorical properties, but there is a tang of real evil in the story’s chaos and its final image.
  11. Longlegs
    This isn’t Perkins’ first shot but it’s his biggest swing and ultimately his clumsiest miss, a grab bag of ideas and tricks that can’t be coerced into anything resembling a whole.
  12. Twisters
    Twisters is a fun film with some big setpiece scenes, and Ramos and Powell make gallant admirers for Kate. I do think though that the movies still haven’t given Edgar-Jones – so excellent in TV’s Normal People – the well-written big-screen role she deserves. Some spectacular stormy weather, though.
  13. Fly Me to the Moon
    Here the romance and adventure of the actual Apollo 11 achievement are undermined for a smirking, tonally jarring non-laugh.
  14. Cash Out
    Chalk it up to an insufficiently distinctive screenplay and underwhelming plot, but for Travolta, Cash Out feels more like a mercenary case of cashing in.
  15. Space Cadet
    The uplift of a woman triumphing in a male-dominated Stem world isn’t enough to get us through a mess of grindingly unfunny dialogue, too-broad performances and an utter, movie-killing lack of charm.
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