The Guardian's Scores

Select another publication »
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
view
per page
  1. Society of the Snow
    This is a fervent film, heartfelt and shot with passion and sweep.
  2. The Color Purple
    This heartfelt movie-musical of The Color Purple sugars the pill and softens the blow, planing down the original’s barbed and knotty surfaces, taking away some of the shock of violence and tragedy and tilting the experience more towards female solidarity and triumph over adversity.
  3. Rebel Moon Part 1: A Child of Fire
    Going mad with power should be at the very least fun, exhilarating in the indulgence of an artist’s most outlandish whims. Instead, Snyder’s would-be magnum opus is merely boring.
  4. The Family Plan
    The script works efficiently and everyone involved sells it hard; there are continuous closeup cutaways to that cute and gurgling baby who never cries no matter what happens. But the sheer robotic sheen of the film in the end works against it.
  5. Apolonia, Apolonia
    As Sokol’s style matures, Glob’s direction also becomes visibly more assured. The meandering beginning in which the film-maker’s narration does a lot of the heavy lifting soon becomes more stylistically coherent.
  6. Godzilla Minus One
    This is not a cuddly version of Godzilla. He is rageful and entirely incomprehensible, seemingly not even motivated by hunger, desire or revenge. Like a god, he just is, an entity that has become death, the destroyer of worlds, as ineluctable as history itself.
  7. Every Body
    This is a sympathetic and very contemporary study.
  8. Monica
    This is a tremendously crafted, impeccably intelligent film.
  9. The Iron Claw
    The Von Erichs endured so much loss, and Durkin manages to convey some of it.
  10. The Shift
    For every bright spot in The Shift, and every moment where it has value as a cultural curio or object of camp intrigue, you unfortunately have to sit through a fair amount of blathering on about Kevin’s mission.
  11. Animal
    Despite its obvious desire to push buttons, Animal doesn’t have the guts to actually own its transgressions.
  12. The Archies
    The whole shebang is quite bizarre but sort of works, thanks to the brisk pacing of the editing and the joie de vivre that directors Zoya Akhtar and Ryan Brophy inject into the proceedings.
  13. The Sacrifice Game
    You’re never left in any doubt that The Sacrifice Game is made by film-makers with affection and respect for horror movies – but it might not be the type of horror movie you thought it was at first sight.
  14. Earth Mama
    A piercingly emotional drama, acted with natural flair.
  15. A Tiger in Paradise
    It’s all quite lovely to look at or even just listen to, making for something that can easily be experienced at home while the viewer is knitting or chopping vegetables.
  16. Night Train
    The execution is dire, with cliche-riddled dialogue as cheesy as a packet of Kraft Singles, stodgy pacing, poorly developed characters and shonky acting.
  17. The Peasants
    There is visual interest here, but for me the drama isn’t sustained.
  18. 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.
  19. Your Christmas or Mine 2
    The script is mostly tasteless, a buffet of blandness. Instantly forgettable.
  20. 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.
  21. The Three Musketeers - Part I: D'Artagnan
    This is a lavishly produced, very enjoyable innocent pleasure.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Mercy Road
    Mercy Road is an original, darkly idiosyncratic thriller; I’ve never seen another quite like it.
  27. 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.
  28. Eileen
    The performances from Hathaway and McKenzie are vehement and watchable, but the film itself is an unsatisfying and anticlimactic oddity.
  29. Pictures of Ghosts
    [A] somewhat bemused memoir-essay about place, cinema and time.
  30. 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.
Page:

Top Trailers

See all »
See all trailers »