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. The Peasants
    There is visual interest here, but for me the drama isn’t sustained.
  2. Your Christmas or Mine?
    It’s a very small mercy, given what he’s working with, but director Jim O’Hanlon is at least able to competently conjure enough Christmas spirit for the film to visually feel of the season, evocative enough to pierce through for those of us who’ve made the journey from London to the sticks for the holidays.
  3. Your Christmas or Mine 2
    The script is mostly tasteless, a buffet of blandness. Instantly forgettable.
  4. Wonka
    I enjoyed this more than either of the two earlier filmed versions, with Gene Wilder in 1971 and Johnny Depp in 2005. It supplies the chocolate-endorphins.
  5. The Three Musketeers - Part I: D'Artagnan
    This is a lavishly produced, very enjoyable innocent pleasure.
  6. Silent Night
    His to-the-point revenge thriller Silent Night isn’t good enough for us to erupt into the applause Woo has so often deserved, but it’s also not bad enough for us to mourn the film-maker that he once was, a mostly competent exercise that serves less as a victory lap and more as a warm-up.
  7. Renaissance: A Film by Beyoncé
    Admittedly some of these moments get a little gushy. Beyoncé has much to be thankful for and she spends a little too long doing the thanking, from her parents to her dancers to guests like Diana Ross. But there’s always another slab of concert action round the corner to jolt the whole show back to life.
  8. Candy Cane Lane
    The bizarro plot might help Candy Cane Lane stand out from the bland, busy crowd of new seasonal movies but it’s just as limp and lacking in spirit as the rest of them. Murphy and Ross deserve better, and so do we, and so does Christmas.
  9. Family Switch
    The yuletide drama takes a more-the-merrier approach to the trading-places trope, offering a smorgasbord of stock characters for couch-bound viewers to relate to.
  10. Mercy Road
    Mercy Road is an original, darkly idiosyncratic thriller; I’ve never seen another quite like it.
  11. Bad Behaviour
    The back half is all over the place and doesn’t seem to know what to say – but Connelly never ceases to be anything less than mesmerising as the kind of older woman full of spit, vinegar and shrapnel who could go off at any second.
  12. Eileen
    The performances from Hathaway and McKenzie are vehement and watchable, but the film itself is an unsatisfying and anticlimactic oddity.
  13. Pictures of Ghosts
    [A] somewhat bemused memoir-essay about place, cinema and time.
  14. It's a Wonderful Knife
    It’s a Wonderful Knife is diverting enough to start with, as the plot clicks efficiently into motion with the requisite stabbings and impalings. Unfortunately, there’s not enough fuel in the engine – the characters don’t have quite enough to do, we can’t care quite enough about them, and the world-building is nearly-but-not-quite convincing.
  15. There's Something in the Barn
    It’s a silly horror that’s not as good, or as bad, as you’d hoped: neither funny enough nor ever properly scary. That said, there are some cheerfully gory bits and a smattering of decent culture clash gags.
  16. Teddy's Christmas
    This one has all the Norwegian drama of Yuletide in one tidy package, yes sir.
  17. Leave the World Behind
    As the catastrophe escalates, the movie’s mood music of imminent horror gets gradually and continuously louder, without ever quite reaching a climax of fear – or meaning.
  18. The Kill Room
    Nicol Paone’s flat direction and Jonathan Jacobson’s listless screenplay leave the cast painting by numbers.
  19. American Symphony
    Batiste is a cheerful and inspiring presence but there’s a guardedness to him that keeps us at a respectful distance. His relentless optimism, so integral when he’s trying to keep everyone’s spirits up, can also function as a shield.
  20. Another Body
    This is a powerful and important documentary, though I have one tiny qualification.
  21. Genie
    It’s as if everyone involved is terrified of actually making people laugh in case that gives offence somehow, or disrupts the algorithmic calculation that theoretically makes this a palatable piece of content. The whole thing is as bland as cellophane.
  22. Lost in the Night
    Escalante’s storytelling vigour and his way with an unsettling image keep this film’s voltage high.
  23. Leo
    Brightly animated and with moments of surprising insight, there’s a warm likability to Leo that radiates, for those still in the classroom and those who left it long ago.
  24. Aurora's Sunrise
    Perhaps the most remarkable moment comes at the end when the elderly Aurora reflects that she doesn’t want revenge, she just wants those connected to the genocide to be made accountable for it: “sat in the chair” of justice.
  25. Wish
    Watching all the tried-and-tested elements fail to coalesce just makes us nostalgic for the classics instead. Let us all wish Disney can find that magic again.
  26. Control
    Perhaps Control will gain cult status – or inspire a remake. But Spacey’s eerily detached, jaded presence does not do much for his putative comeback.
  27. Dashing Through the Snow
    In film-making as in gift-giving, it’s the thought that counts, and there’s not much to go around in here.
  28. Please Don’t Destroy: The Treasure of Foggy Mountain
    As comedy writers and movie actors, the members of Please Don’t Destroy – Martin Herlihy, John Higgins and Ben Marshall – are out of their depth. That’s not a knock on their brand of comedy, which works in small doses.
  29. Mami Wata
    The sleek, stark images of this film are hypnotic; the faces are compelling and the hallucinatory finale is rather inspired. An arresting piece of work.
  30. The Lost Weekend: A Love Story
    It is a vivid snapshot of a troubled private life at the apex of the US music scene.
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