The Guardian's Scores

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For 6,585 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: 2,496 out of 6585
  2. Mixed: 3,770 out of 6585
  3. Negative: 319 out of 6585
6585 movie reviews
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  1. Blue Moon
    It’s a terrific performance from Hawke.
  2. Zootopia
    It’s somewhat heavy material for a film aimed at children, but perhaps very necessary in an age where a beer-stained uncle might have ruined Thanksgiving wearing a Make America Great Again baseball cap.
  3. The Remarkable Life of Ibelin
    By the end it’s nearly impossible not to shed a tear after the touching finesse and shape of this story.
  4. Chariots of Fire
    A bold, intelligent, romantic film with all the lineaments of a classic, and a score by Vangelis as instantly hummable as the music for Jaws.
    • 78 Metascore
    • 70 Critic Score
    Pit and the Pendulum
    Corman enhances the narrative with assorted shocks and tinted flashbacks reminiscent of the silent cinema.
  6. I'm Your Man
    I was disappointed with a film whose crises and dilemmas seem laborious and essentially predictable; it does not fully work as sci-fi or satire or comedy.
  7. Never Look Away
    This documentary about [Moth's] life, directed by the actor Lucy Lawless, is a fascinating portrait of a woman who had two mottoes: “no regrets” and “don’t be boring”.
  8. The Eight Mountains
    This film has mystery and passion, it climbs mountainous heights and rewards you with the opposite of vertigo: a sort of exaltation.
  9. A Love Song
    The landscape has a certain gaunt beauty and so does Dickey’s performance.
  10. Non-Fiction
    It’s a film that ostentatiously concerns itself with contemporary, zeitgeisty issues such as digital culture and the internet, and whether this is undermining the world of reading and books. But strip out the strained speechifying on that subject and it could have been made at any time in the last 40 years.
    • 78 Metascore
    • 90 Critic Score
    Dr. No
    The other is a scene, improvised on the set, when Bond does a double take on seeing Goya's portrait of the Duke of Wellington (recently stolen from London's National Gallery) in Dr No's palatial living room. It's the funniest moment in any Bond picture and one of cinema's great art jokes.
  12. The Earth Is Blue as an Orange
    A halo of kinship, love and the tenacious power of art is gathered around this film.
  13. Much Ado About Nothing
    But Whedon's key coup is in simply directing a very good version of the play. He's got a keen ear for comedy, a no-nonsense approach to ditching the gags that don't work, a deft hand for slapstick and an eagerness to use it.
    • 78 Metascore
    • 80 Critic Score
    Scum
    This grim picture of borstal life packs a real punch. And kick, and headbutt. [13 Feb 2010]
    • The Guardian
    • 78 Metascore
    • 70 Critic Score
    The Window
    Tight, claustrophobic direction by Ted Tetzlaff. [12 Apr 1990]
    • The Guardian
  16. Holding Liat
    Holding Liat is a valuable work, not least for showing us that Israel and Netanyahu are not synonymous.
  17. Endless Poetry
    It’s a real flight of fancy.
  18. Spontaneous
    This debut feature from writer-director Brian Duffield (best known for his screenplays for Underwater, The Babysitter and Jane Got a Gun) has plenty of gallows humour to leaven the gore and tragedy, and plenty of subtexts swimming under the surface like glittering, metaphorical koi.
  19. Beach Rats
    Beach Rats is a captivating character study and one that feels vital.
  20. Rodney King
    The performance is austere and challenging, it takes us through the grim events, their aftermath and the long endgame of King’s life, but without the emollient or lenient notes that a Hollywood treatment might attempt. It is a requiem of a sort, and a sombre indication of all that has not yet healed, or been fixed.
  21. Barbarian
    There are depressingly few pleasures to be had here, and one of them is at least, for a while, playing detective trying to figure out just what on earth is buried at its centre.
  22. We're All Going to the World's Fair
    What an uncanny, exhilarating experience.
  23. If I Had Legs I'd Kick You
    In just under two hours with a plate filled a little too high, not everything here quite works as well as Byrne, but Bronstein clearly hasn’t made something to be liked, she’s made something to be experienced. I can’t say I’ll forget that experience easily.
  24. Frankenstein
    Finally, inevitably, at the end of the protracted tale, we get to the question of which of the two is the “real” monster. The answer, in this high-minded and eventually rather sanctified romance, would appear to be – neither of them.
  25. Sorry to Bother You
    Despite being about serious matters (labor relations, systematic oppression, racial microaggressions), Sorry to Bother You is slight and raggedy, but when it leans into its surreal, midnight movie instincts it proves engaging and amusing.
  26. 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.
  27. Away
    Not a word is spoken throughout, which harkens back to an older era of cinematic storytelling. At the same time, the extreme frame-to-frame fluidity of the computer-assisted animation style, composed entirely of fields of subtly modulated colour, no outlines and minimal modelling, looks completely 21st century.
  28. The Human Factor
    It’s a blow-by-blow account in measured – but nailbiting – detail, told by the American diplomats in charge of the high-stakes negotiations. You could imagine John le Carré basing a character on one of these polite, ferociously bright people.
  29. Only You
    It’s a poignant and compelling Venn diagram of passion and heartache.
    • 78 Metascore
    • 100 Critic Score
    All That Heaven Allows
    This 1950s melodrama – as underscored by Todd Haynes' modern riff, Far from Heaven – offers smart insights into the American class system and carries a powerful emotional clout way beyond the usual limitations of its genre.
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