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 Girl in the Trunk
    While Sporrer in the lead role is fairly credible, a lot of the line readings by the rest of the cast are stilted in a way that a more experienced or native speaker would have picked up on. The result is that all the other characters except Amanda sound as if they’re in a radio play rather than an actual film.
  2. Sting
    Sting, black with a lethal red stripe, is never silly looking, though some of horror references feel a bit obvious and fanboy-ish.
    • 80 Metascore
    • 60 Critic Score
    Gasoline Rainbow
    The result is a movie in the tradition of “vibes” film-making, less interested in a propulsive plot than exploring the revealing and delightful moments that arise from spontaneous human interactions.
  4. HAIKYU!! The Dumpster Battle
    This is the second highest-grossing movie of the year in Japan, but unless you’re a teenager, an anime junkie or really, really care about volleyball, you’re unlikely to get much out of it.
  5. Chief of Station
    The rangy and trenchant Eckhart does convincingly bring the ruckus in a way that suggests an ageing 007. But if that’s a promising sign for this new phase of his career, he can do better than this dour and charmless parade.
  6. The Seed of the Sacred Fig
    The film may not be perfect, but its courage – and relevance – are beyond doubt.
    • 63 Metascore
    • 60 Critic Score
    The Beach Boys
    Perhaps the last 48 years are omitted for reasons of space. The film would need to be twice as long to cover them, and the second half would feel more like a particularly lurid soap opera than a music documentary. But it seems more likely it’s out of a desire to append a happy ending on to a story that doesn’t really have one.
  8. Beating Hearts
    Civil and Exarchopoulos (and Frikah and Wanecque) give it everything they’ve got and that is a great deal. But this can’t prevent Beating Hearts being an unsatisfying experience.
  9. All We Imagine as Light
    There is a freshness and emotional clarity in Payal Kapadia’s Cannes competition selection, an enriching humanity and gentleness which coexist with fervent, languorous eroticism and finally something epiphanic in the later scenes and mysterious final moments.
  10. Marcello Mio
    It’s an indulgent doodle of a film, a self-admiring industry in-joke, an earthbound flight of fancy, unconvincing on a literal level, and unenlightening on a metaphorical level. Yet Deneuve, puncturing her daughter’s affectations and delusions with a wry and bemused smile, injects some real humour.
  11. Atlas
    For a film that wants us to stop worrying and love big tech, Atlas does an awfully good job of showing us why we should still be wary of it.
  12. A Family Affair
    It’s as if director Warren Fischer has forgotten to write jokes in his script. No one says anything remotely humorous; instead there’s just a parade of lowest-common-denominator gags.
  13. Hit Man
    Hit Man comes close to fantasy and approaches screwball but keeps the realism. A hit is what it deserves to be.
  14. Motel Destino
    This film is terrifically acted by its central trio: three intensely and unselfconsciously physical performances in which their bodies are frequently on show, sensual but fragile.
  15. William Shatner: You Can Call Me Bill
    It’s perhaps less fun than you might have hoped for, though Shatner is undoubtedly charismatic, and a pretty decent raconteur. He’s often entertaining, if not always necessarily in the way he intended.
  16. Parthenope
    Of course, Sorrentino’s way with a camera will always be intriguing and exhilarating to some degree. Yet Parthenope simply floats complacently across the screen, like a two-hour ad for some impossibly expensive cologne.
  17. The Garfield Movie
    This shameless shilling comes packaged in an equally offensive story that foists Hollywood’s au courant fixation with intergenerational trauma on to a character heretofore occupied above all with napping and eating.
  18. Grand Tour
    It is elegant, eccentric and needs some time to be indulged. ... And yes, it is six parts beguiling to one part exasperating. But ... it leaves you with a gentle, bemused smile on your face.
  19. Rumours
    A droll account of the world’s whimpering end.
  20. Limonov: The Ballad
    It’s an exhilarating, alarming look at that much discussed subject: the Russian soul.
  21. Christmas Eve in Miller's Point
    It might resemble other family dramas, but there’s a hum of something strange underneath, a sense that life is about surrendering to the infinite flow of events.
  22. The Balconettes
    The performances are exhaustingly unsubtle and undirected and the film’s failure to hit the comic note early on has the added disadvantage of undermining the avowedly serious moments of solidarity and body-positivity at the end.
  23. Anora
    What would Pretty Woman look like if it bore the smallest resemblance to the reality of sex work? Maybe something like this, Sean Baker’s amazing, full-throttle tragicomedy of romance, denial and betrayal.
    • 72 Metascore
    • 60 Critic Score
    Slow
    Elena and Dovydas’s relationship unfolds at a gentle, unhurried pace, their growing attraction indicated by small details – coy glances, long, loaded pauses between conversation – that reward attentive viewing.
  25. The Present
    Cue group hugs and sappy music as the credits roll.
  26. The Shrouds
    It’s a movie presented with absolute conviction and gimlet-eyed seriousness, but less wayward humour than Cronenberg often gives us.
  27. The Apprentice
    Director Ali Abbasi has given us fascinating monsters in the past with Holy Spider and Border but the monstrosity here is almost sentimental, a cartoon Xeroxed from many other satirical Trump takes and knowing prophetic echoes of his political future. It’s basically a far less original picture.
  28. You Can't Run Forever
    Veteran actor JK Simmons (Whiplash) is the main reason to watch this basic horror-thriller, which isn’t as horrific or thrilling as one might hope.
  29. Emilia Pérez
    Audiard brings his usual ambition and sweep, energy and attack; although I wondered at certain points if the musical numbers functioned at some level as an alibi, to pre-empt objections about being the film being contrived.
  30. The Substance
    In its trashiness – and, yes, its refusal of serious substance – The Substance should really be put out on VHS cassettes and watched at home in homage to the great era of home entertainment pulp and video-store masterpieces of weirdness and crassness.
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