The Guardian's Scores

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For 6,576 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 2.2 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: 2,493 out of 6576
  2. Mixed: 3,764 out of 6576
  3. Negative: 319 out of 6576
6576 movie reviews
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  1. Exhibiting Forgiveness
    Working through one’s own strife as a form of autofiction can often lead to self-indulgence but Kaphar has crafted something that deserves to exist outside of his inner circle, an emotionally wrenching drama set to resonate with those who have also had to confront the complicated equation of radical forgiveness.
  2. Forever Young
    In the end, this is a shallow drama passing itself off as saying something meaningful.
  3. My Old Ass
    There’s a surprisingly grand emotional punch, arriving suddenly and landing with force.
  4. The American Society of Magical Negroes
    At its best, the film skewers the potentially eye-rolling concept of white fragility with visual panache and wit.
  5. A Real Pain
    A Real Pain is occasionally insightful on the subject of suffering, sometimes funny, a bit endearing, a little pretentious, often dry.
  6. I Saw the TV Glow
    I Saw the TV Glow marks a remarkable progression for Schoenbrun as both writer and director, a more substantive, if still challenging, narrative married with an incredible, expanded ability to fully immerse us in the visuals they have created. It’s made with such transportive precision that I can still feel it as I write.
  7. Freaky Tales
    For a film so clearly designed to be fun above all else, it ends up being a bizarre slog.
  8. Love Me
    It feels like a short that was expanded without enough thought for how it might work as a whole movie and by the end, even that curiosity has faded too.
  9. Werner Herzog - Radical Dreamer
    Calling a film-maker a “dreamer” sounds hackneyed, but it does justice to his idealism. Perhaps no other description will do.
  10. June
    This is a respectful film, but it does pick a little at the myth of the Johnny’n’June love story.
  11. The End We Start From
    Comer’s vulnerability and idealism are authentic as are her determination and a dash of real ruthlessness . . . She carries everything with unselfconscious strength and style.
  12. The Holdovers
    What a unique talent Giamatti is; it’s a pleasure to see him play a movie lead, his first for a while, and his prominence in this really good film is a signal that the cinema could be moving back to a more approachable world of authentic drama and analogue talent.
  13. Memory
    This is an absorbing story, acted with superlative delicacy and maturity by Chastain and Sarsgaard.
  14. Lift
    There’s plenty to keep many viewers watching for its 1 hour, 44-minute runtime. But given the bare characterization for everyone and the total lack of chemistry between Hart and Mbatha-Raw (despite her best efforts), not enough to elevate Lift above its many forgotten peers.
  15. The Beekeeper
    There’s a grubby, late-night appeal to his dialled-up trash aesthetic and The Beekeeper mostly works because of it. Bee prepared for a sequel.
  16. Mean Girls
    There are plenty of laughs and fun along the way.
  17. Role Play
    Thanks to the sorry state of the action comedy genre as is, Role Play isn’t a total loss but it’s still much too far from a win.
  18. War Blade
    This pointless, aimless mission is expedited by the usual logic-slips, like inexplicably letting fanatical SS officers escape when you have them at your mercy.
  19. One More Shot
    More than a little suspension of disbelief is required and, increasingly, I felt as if I was watching a video game. It’s a movie with a fairly low IQ too – violent, boring and a bit soulless, always on the edge of running out of steam from the 45 minute mark.
  20. Destroy All Neighbors
    At 85 minutes, Destroy All Neighbors gets a little indulgent, and the plot, as William finds his creative mojo in the company of his newly acquired ghoulish ensemble, is throwaway. But it’s a gleeful lo-fi rampage all the same.
  21. The Disappearance of Shere Hite
    If this documentary doesn’t make Hite a household name among a new generation of feminists, the biopic that should really follow it certainly will.
  22. Night Swim
    Kerry Condon follows up her Oscar nomination with a thankless piece of Blumhouse schlock that tries, and fails, to make swimming pools scary.
  23. The President’s Wife
    It all tootles along inconsequentially enough, like a daytime soap about nothing very much in particular; all the supposedly important things feel negligible in terms of political or emotional weight.
  24. Good Grief
    There is a strenuous earnestness here, which is made to coexist with entirely artificial romcom dialogue of a kind not spoken by real human beings.
  25. Scala!!!
    A very entertaining madeleine for movie-going of the analogue age.
  26. Lord of Misrule
    The film’s best decision is to cast the great Ralph Ineson as an ambiguous local figure of note. With his basso profundo rumble of a voice and air of rough-hewn potency, he’s always a striking figure on stage and screen.
  27. Raging Grace
    It generally feels secondhand, though the final musical scene has an authenticity and heart that the rest lacks.
  28. The Goldfinger
    Leung Chiu-wai has a predatory glint behind the salesman’s grin, and Lau has the beaten look of a man bested for much of the movie. What’s really missing is a Leung/Lau face off, an epic confrontation.
  29. One Life
    It was a goofy, almost silly caper which could have gone wrong or turned out to be misjudged; instead it was a moment of secular grace, like something from a late Shakespeare play. The film does justice to this overwhelmingly moving event in British public life in a quietly affecting drama.
  30. Miranda's Victim
    Building in power and finesse, Danner oversees a very satisfying dialectical dustup.
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