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. Destroyer
    Destroyer reverses the gender polarity and ethos of Abel Ferrara’s Bad Lieutenant: with Ferrara, the cop is the abuser and with Kusama the cop is the abused, but both are cops who have descended into hell and whose compulsive, addictive behaviour may be an effort to escape it – or to enter further into hell in an attempt to cauterise the pain.
    • 75 Metascore
    • 80 Critic Score
    The Landlord
    A still wonderfully penetrating, wise and exact meditation on race relations at the end of the 1960s.
  3. The Other Side of the Wind
    This is a crazy, dishevelled, often hilarious film, in which lightning flashes of wit and insight crackle periodically across a plane of tedium.
  4. The Ballad of Buster Scruggs
    The Coens have given us a hilarious, beautifully made, very enjoyable and rather disturbing anthology of stories from the old west, once planned for television but satisfyingly repurposed for the cinema: vignettes that switch with stunning force from picturesque sentimentality to grisly violence.
  5. The Front Runner
    There’s an authenticity underpinning the portrayal of events in The Front Runner that lifts it above the less-than-groundbreaking set-up.
    • 88 Metascore
    • 80 Critic Score
    Strangers on a Train
    Strangers is full of marvellous set pieces and uses the architecture of Washington to dramatic effect.
  7. A Quiet Place Part II
    The dual storylines are wrapped up together ingeniously with images and ideas slyly implanted at the very beginning. And there are some jump scares that had me Fosbury-flopping out of my seat with a yelp.
  8. In Like Flynn
    This is a fun film constructed in a smart way: an anti-high art picture that happily prioritises embellishing legend over recreating life.
  9. Dragged Across Concrete
    This is a long film, but there is something so horribly compelling about its unhurried slouch towards the precipice.
  10. Dead Souls
    Wang’s film is a vital excavation of history in danger of being eroded away.
  11. Gloria Bell
    Whether or not you have seen the original film, there is a terrific performance here from Moore, and an equally good one from Turturro, who may be entering into his own golden years of bittersweet character work.
  12. In Fabric
    In Fabric is indulgent, certainly, and I regretted the fact that the excellent Jean-Baptiste is not as centrally important to the film as I had assumed she would be. When she is gone, the voltage drops a bit. But it is just so singular, utterly unlike anything else around.
  13. The Command
    It’s a heartbreaking, troubling film about men whose lives were cruelly deprioritised and whose families remain ever altered as a result. It ends on a note of melancholy but the burning anger also remains, the final scenes tinged with a painful awareness of wounds that may never heal.
  14. High Flying Bird
    In picking at a system until it’s threaded, High Flying Bird is a classic Soderbergh construct.
  15. J.T. Leroy
    JT LeRoy may have been an elaborate fib, but Kelly finds a genuine pearl of wisdom in the web of deception.
  16. Black '47
    It is a harrowingly effective film, though flawed by the actions of Weaving’s officer being unconvincingly motivated at the end, and perhaps born of an emollient screenwriting need to split the difference between the Irish avenger-hero and his enemies.
  17. Vice
    Bale brilliantly captures the former vice-president’s bland magnificence.
  18. On Her Shoulders
    Nadia is shown always surrounded by crowds, almost crushed by them. But her utter loneliness is heartbreaking.
  19. Aladdin
    It is lively, colourful and genuinely funny, and doesn’t break what didn’t need fixing about the original.
  20. Watergate
    In the course of a mammoth, horribly absorbing four-hour film from Charles Ferguson we are immersed in a world of milky TV news footage, big lapels, bulbous combovers, dirty tricks, sweat, jowls and guilt.
  21. A Season in France
    The habitual calm and gentleness of Mahamat Saleh Haroun’s film-making here has a sharp edge and an overtly political point – as well as a flourish of violent destruction and despair that blindsided me.
  22. Under The Wire
    This is a heart-stoppingly suspenseful story. Conroy is a superb commentator on war and all its cruelties and absurdities.
  23. Anchor and Hope
    It’s a thoughtful, honest and touching work, especially for women who love women, and also love canals.
    • 93 Metascore
    • 80 Critic Score
    The Magnificent Ambersons
    This is Welles's warmest, most personal film.
  25. Be Natural: The Untold Story of Alice Guy-Blaché
    Pamela B Green’s hectic, garrulous, fascinating documentary recovers the story of French film-maker Alice Guy-Blaché.
  26. The Good Liar
    This movie rattles along with terrific energy and dash and the flashback sequences show that it’s actually far more daring and ambitious that you might expect. It’s a great duel between McKellen and Mirren.
  27. The Mustang
    Brilliantly, Schoenaerts almost underplays Roman’s anger, lumbering slowly like a wounded animal, the downward slope of his eyes conveying a howl of rage. It’s an electrifying performance.
  28. Native Son
    It’s a fiery, flawed, often stunningly made film that provokes uncomfortable discussion, rather like the Richard Wright novel it was based on, although purists might argue over some key changes.
  29. Late Night
    At heart, Late Night is a romcom and like so many romcoms, the funny stuff recedes after the first act, as the plot and its relatability imperative gets into gear. Yet Kaling is very good at conveying the paradoxical misty-eyed idealism of those working for this long-running TV institution.
  30. Aniara
    With Aniara, the Swedish writing-directing team Pella Kågerman and Hugo Lilja deliver a cold, cruel, piercingly humane sci-fi parable that’s both bang on the zeitgeist and yet also unnervingly original.
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