The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. 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.
  2. 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.
  3. June
    This is a respectful film, but it does pick a little at the myth of the Johnny’n’June love story.
  4. The End We Start From
    There’s just about enough care and sensitivity in The End We Start From to offset its issues, providing us with an unusual, female-powered alternative within a field of films that are usually heavier on action than words.
  5. The Holdovers
    There’s an emotional restraint in both the performances and the film surrounding them, despite the time of the year, and when a light sprinkling of sugar does come in the last act it feels earned.
  6. Memory
    This is an absorbing story, acted with superlative delicacy and maturity by Chastain and Sarsgaard.
  7. 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.
  8. 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.
  9. Mean Girls
    There are plenty of laughs and fun along the way.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Scala!!!
    A very entertaining madeleine for movie-going of the analogue age.
  19. 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.
  20. Raging Grace
    It generally feels secondhand, though the final musical scene has an authenticity and heart that the rest lacks.
  21. 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.
  22. One Life
    It’s in the scenes from the late 80s, which slowly start to take centre stage, that the film finds more original footing, exploring with nuance the realities of living with the weight of doing so much yet thinking of it as so little.
  23. Freelance
    Brie and Cena look lifeless and blank-faced; they’ve got no chemistry, and the objectionable dynamics of him manfully rescuing her shrieking from the clutches of the bad guys on repeat feel like a satire of the genre – which this isn’t.
  24. Miranda's Victim
    Building in power and finesse, Danner oversees a very satisfying dialectical dustup.
  25. Jules
    This is a sentimental and folksy film, and the ending is a little garbled, but there is a gentleness and sweetness there, and Kingsley carries it off very well.
  26. Aquaman And The Lost Kingdom
    The Aquaman franchise is just flatlining, floating through the dreary depths like the kind of discarded plastic bag which is going to choke the last remaining vaquita porpoise.
  27. Anyone But You
    The pair never convincingly hate or even mildly dislike each other, there’s no bite there, it’s more like watching a happy couple playfully rag on each other for an audience and we’re never given enough of a reason as to why they wouldn’t be together from the outset.
  28. The Boy and the Heron
    The Boy and the Heron is a gentler and slower though no less soulful addition to his canon.
  29. Next Goal Wins
    The film is a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way.
  30. Simple Minds: Everything is Possible
    Both Kerr and Burchill come across as unpretentious, down to earth and likable.
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