The Guardian's Scores

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For 6,581 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: 2,495 out of 6581
  2. Mixed: 3,767 out of 6581
  3. Negative: 319 out of 6581
6581 movie reviews
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  1. The Son of Joseph
    The Portuguese Nun (2009) was a gem of gentle comedy, and his new drama, The Son of Joseph, has the same droll innocence and lovability. With its carefully controlled, decelerated dialogue, it is weirdly moving in just the same way.
  2. In Pursuit of Silence
    The film occasionally hits a rather loud note of passive-aggressive piety, but it is very persuasive.
  3. Paddington 2
    The film is pitched with insouciant ease and a lightness of touch at both children and adults without any self-conscious shifts in irony or tone: it’s humour with the citrus tang of top-quality thick-cut marmalade.
    • 75 Metascore
    • 80 Critic Score
    National Bird
    With stealth and elegance, Kennebeck brings these alarming truths into the light.
  5. The Pass
    The film is a bit stagey sometimes, but ambitious and insightful. Tovey is excellent as he shows someone progressing from innocence to fear and then to loneliness.
  6. Behemoth
    What this exceptionally lucid film-survey reveals is what has to go on at ground level, and beneath the surface, in order to power a powerhouse.
  7. Burn Your Maps
    We can debate if Burn Your Maps merely fetishises a different culture or holds it in true reverence, but I’d like to give it the benefit of the doubt. If nothing else, the performances are terrific all around.
  8. An Inconvenient Sequel: Truth to Power
    Railing against rising tides, Gore emerges as a cannier performer and a more compelling subject than he was in 2006; a message that sounded critical then has become no less urgent with time.
  9. The Party
    Unassuming and old-fashioned funny entertainment isn’t exactly what we associate with this film-maker, but that’s what she has very satisfyingly served up here. It’s not especially resonant or profound but it is observant and smart, with some big laughs in the dialogue. The whole thing is enjoyably absurd though not precisely absurdist.
  10. Isle of Dogs
    There is so much detail in the breakneck race from image to image that Isle of Dogs will reward multiple viewings as much as any Anderson film, visually if not narratively.
  11. Suntan
    It is superbly directed and shot with great scenes.
  12. The Lovers
    Rather like its central relationship, the film is messy and flawed yet painfully familiar.
  13. Bright Lights: Starring Carrie Fisher and Debbie Reynolds
    These were two women who reached a state of balance thanks to an almost aggressive honesty.
  14. The Beguiled
    Coppola tells the story with terrific gusto and insouciant wit, tying together images from the first scene and the last, so that the narrative satisfyingly snaps shut.
  15. Coco
    Coco is a rousing, affecting, fun and much-needed return to form after underwhelming Finding Nemo and Cars sequels and will help to ensure that Pixar’s legacy remains intact.
  16. A Ghost Story
    Not all is explained in A Ghost Story, but enough is there for vibrant discussion to break out the minute the credits rolled.
  17. Paris 05:59: Théo & Hugo
    The film has its own specific vibe, thanks in part to the writer-directors’ unique, immersive sense of the milieu and the leads’ tender chemistry.
  18. All These Sleepless Nights
    It’d be easy to dismiss as jaded hipsterism but the film isn’t scared to laugh at itself and the unsustainable lifestyle its protagonists are clinging to.
  19. Burning Sands
    There’s no clumsy exposition here to explain motivations but delicately scattered crumbs involving status, family and the crippling strain of competitive masculinity.
  20. Detroit
    This is a sombre, grieving movie which appears to gesture to the ghost-town ruin that is still in Detroit’s future.
  21. Lost in London
    Harrelson is an affectionate director, finding memorable bits for performers all across the cast list, and his writing is peppered with arresting phrases.
  22. Mudbound
    Mudbound is absorbing: the language, performance and direction all have real sinew.
  23. Wind River
    Sheridan is emerging as a master of the Mexican standoff, the shootout, the stomach-turning crime scene, the procedural office politics, but he’s also adept at tuning into the vulnerability and strength of the women and men called in to uphold the law. Wind River is a smart and very satisfying movie.
  24. Beach Rats
    Beach Rats is a captivating character study and one that feels vital.
  25. Beatriz at Dinner
    This isn’t the film we need right now, that’s a meaningless statement, but it’s a film that we deserve to watch, discuss and be grateful for.
  26. God's Own Country
    This debut feature from Yorkshire-born actor and first-time director Francis Lee is tough, sensual, unsentimental, with excellent lead performances from Josh O’Connor and Alec Secareanu.
  27. Marjorie Prime
    It’s a haunting little film that ends with a somewhat overwhelming poignancy.
  28. Final Portrait
    It’s a highly entertaining portrait of the two men, and Tucci’s own directorial brush strokes are bold and invigorating.]
  29. The Other Side of Hope
    There aren’t really any surprises in The Other Side of Hope; it’s more like witnessing the ongoing cultivation of a humane philosophy. But the film is devilishly funny, economically constructed (the demise of Wikström’s marriage is shown in wordless images) and decked out in the director’s dismal palette of cobalt blue, moss green and burnt-marmalade orange.
  30. The Young Karl Marx
    It shouldn’t work, but it does, due to the intelligence of the acting and the stamina and concentration of the writing and directing.
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