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. Frida
    Each new sentence adds more: more complexity, more woman.
  2. After Death
    The rhetoric here is slippery as a Pentecostal snake bathed in holy snake oil, to the point where you almost have to admire the film-makers’ tenacity – especially when it comes to swirly-whirly visual effects showing near-abstract pearly gates and deities presenting themselves as rays of luminosity, like celestial lightbulbs.
  3. Our Body
    The camera’s gaze isn’t pitiless but there isn’t a scrap of sentimentality – just an unflinching willingness to look at all of life straight on, without blinking.
  4. DogMan
    It’s shallow and insouciant, adding up to precisely nothing at all, but carried off with panache.
  5. Inside the Yellow Cocoon Shell
    The panoramic intelligence of this film is a wonder.
  6. Mea Culpa
    The stupidity of it all is certainly diverting but it’s all too scattershot and at times stiflingly portentous to cross over into pure camp.
  7. Dahomey
    It is an invigorating and enlivening film.
  8. American Star
    Director Gonzalo López-Gallego creates a strong frame around the characters in both visual and narrative terms, while a lovely score credited to Remate, mixed with well-chosen soundtrack cuts, creates a limpid poignancy.
  9. Wicked Little Letters
    It’s a depressing seaside postcard of a film.
  10. Spaceman
    It’s a spaceflight to nowhere.
  11. Dune: Part Two
    The second part of Denis Villeneuve’s monumental Dune adaptation lands with a sternum-juddering crash; it’s another shroom of a film, an epic sci-fi hallucination whose images speak of fascism and imperialism, of guerrilla resistance and romance.
  12. Monolith
    Matt Vesely’s impressive debut ably stakes out its own territory, not least in the vast distances covered by a single on-screen actor and a handful of vocal performances.
  13. Out of Darkness
    Miraculously this film is never silly. The recreation of stone age life feels unexpectedly convincing – partly I suspect, because of the sensible decision to have the actors speak a made-up stone age language instead of English (bolted together, apparently, from bits of Arabic, Basque and Sanskrit).
  14. Sasquatch Sunset
    It is entirely gripping and a witty and unnerving way of representing the mysterious silence of animals and a future world in which human beings can no longer exist.
  15. Suspended Time
    It’s a movie which reminds us that for all the anxieties, this period of enforced inactivity was for grownups of a certain age and financial security not entirely unpleasant – a reminder of the endless, aimless summer days of childhood, an Edenic existence outside time which workaholic media professionals thought never to see again. A kind of miracle.
  16. A Different Man
    A Different Man is a slog, made worse by the fact that it seems to mistake darkness for insight.
  17. Small Things Like These
    It is an absorbing, committed drama.
  18. This Is Me…Now: A Love Story
    It’s not the act of raw honesty it thinks it is and it’s certainly not a successful visual album; Lopez’s new songs all sound hopelessly middle-of-the-road – over-produced and under-written, stuck in the early 2000s, a time when her music did have a genuine, exciting electricity. The visuals are similarly dated.
  19. The Promised Land
    It’s a watchable though slightly sentimentalised story and Mikkelsen gives it seriousness and force.
  20. Players
    Players may trip on its gimmicks at times, but there’s enough lived experience beneath the rapid-fire quips to work.
  21. Madame Web
    There is nothing gritty or believable about any of it. The film is as dumb and schlocky as the worst of the genre, with lousy network TV effects, uninvolving action and unfunny and inelegant dialogue, its characters drowning in poorly written exposition (even if the much-memed viral line from the trailer is sadly not in the movie itself).
  22. Upgraded
    In true streaming economy form, it’s a smooth, ambient operator, made more memorable than it should be by a still underappreciated Mendes, who will hopefully upgrade to more headlining adults roles sooner rather than later.
  23. Lisa Frankenstein
    To its credit, Lisa Frankenstein wears its inspirations on its black lace sleeves, never feigning true originality but there’s only so much looking back we can handle without things being pushed at least a little bit forward. In bringing a subgenre back from the dead, Cody and Williams could have used a little more life.
  24. Bob Marley: One Love
    This is a vacuum-sealed package of fan-orthodoxy that never takes off. The euphoria and uplift aren’t there.
  25. The Iron Claw
    The Von Erichs endured so much loss, and Durkin manages to convey some of it.
  26. Marmalade
    The stars are toothsome and have a fizzy chemistry, while the ending is surprisingly poignant for all its corniness.
  27. Which Brings Me to You
    The longer it goes on, the more we find ourselves in therapy-land, in contrast to the zingy, zesty territory in which we began.
  28. The Seeding
    Haze is excellent: pacing, weeping, baring his teeth and adding ample unruly emotion to his prison.
  29. The Settlers
    It’s a fierce, stark, almost primitive parable of cruelty and power.
  30. Force of Nature: The Dry 2
    This film drips with pot boiler-ish twists and turns, and is saturated with genre machinations – engaged, like many mystery scripts, in surprising and one-upping the viewer. But developments in the last act especially – and there are no spoilers here – contain some tough pills to swallow.
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