The Guardian's Scores

Select another publication »
For 6,561 reviews, this publication has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% 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: 2,484 out of 6561
  2. Mixed: 3,758 out of 6561
  3. Negative: 319 out of 6561
6561 movie reviews
view
per page
  1. Ghosted
    Ghosted is content dictated by algorithm at its absolute, industry-shaming worst, so carelessly and lifelessly cobbled together that we’re inclined to believe it’s the first film created entirely by AI.
  2. River
    Peedom has now done it again, this time on the subject of rivers with the usual montage of powerful images. Visually rich though it still is, I have to admit to being a bit restless with this kind of globalist Imax-style docu-fantasia.
  3. Hilma
    What a shortchanging of Af Klint’s extraordinary life and work this is.
  4. Loving Highsmith
    It is basically droningly reverent, as well as sometimes bland and naive.
  5. The Last Kingdom: Seven Kings Must Die
    There’s a ton of plot crammed tightly into the running time, but director Edward Bazalgette manages the storytelling efficiently, helped by the display of place names at the beginning of each scene explaining which castle we’re at now, as well as how it was known in 900-something, and the name it goes by now.
  6. Linoleum
    The apparently depressing twist gives Linoleum’s entropy-defying optimism successful lift-off.
  7. The Integrity of Joseph Chambers
    The minute Joseph steps into this disenchanted forest, tripping over every tree root, you can sense the impending disaster, and the horror that Machoian’s movie is moving towards.
  8. Assassin Club
    Appreciation for the artistry of the John Wick series redoubles frame by crummy frame.
  9. The Plains
    This extraordinarily mundane film – a combination of words I’m fairly certain I’ve never used before – is a tremendous achievement and, in a subtle way, an amazing work of art.
  10. Renfield
    As you’d expect from a movie originated by Robert Kirkman of The Walking Dead zombie franchise, Renfield is also resplendent in gore. Dracula’s grotesque visage – decaying in reverse as he gathers strength – is a prosthetics triumph.
  11. The Pope's Exorcist
    Racing towards its splattery finale, it just about qualifies as lively schlock, and is likely your one chance to see Crowe in flowing robes piloting a Vespa to the strains of Faith No More.
  12. Beau Is Afraid
    Joaquin Phoenix is on really uninteresting form, playing to his weaknesses as an actor as he gives a narcissistic performance of pain, sporting a permanently zonked expression of anxiety and torpid self-pity at the misery that surrounds him.
  13. Ride On
    The 68-year-old Chan slips down off Red Hare like a limber teenager. But horse aside, he largely retreads old ground here, with a handful of shambolic dustups that, apart from the enterprising use of a wicker rocking chair, are pretty standard Jackie.
  14. Godland
    There is such superb compositional sense in the still life tableau shots and the almost archaeological sense of time, creating something deeply mysterious and unbearably sad.
  15. Air
    This film winds up looking like the most expensive in-house corporate promo in history: shallow, parochial and obtuse. By the time the credits roll, we’re apparently supposed to be euphoric – not so much at individual sporting achievement, but at all the billions of dollars that Nike has been making.
  16. The Super Mario Bros. Movie
    The second film adaptation of the phenomenally successful video game is a disappointment to rival the first.
  17. Leonor Will Never Die
    Somehow it works on every level: as a moving melodrama about maternal sacrifice and grief, as a domestic comedy, and even as a glorious musical.
  18. The Outwaters
    While its craft is certainly interesting, there’s something decadent and empty at its heart.
    • 66 Metascore
    • 60 Critic Score
    Lewis Capaldi: How I'm Feeling Now
    Pearlman shows that Capaldi has become even more of a celebrity cliche, the star who’s been on a journey and come out the other side – but you imagine Capaldi, with his indefatigable wryness, is all too aware of that.
  20. Murder Mystery 2
    It’s made just-about-watchable by Sandler and Aniston again, whose combined movie star charm proves magnetic enough to carry us through the flatter moments, both nailing some effectively chaotic physical comedy and maintaining a warm, relaxed chemistry.
  21. The Thief Collector
    The film offers a fascinating glimpse into the mystery of other people, especially other people’s marriages. Friends and family still look dazed that the Alters – Rita and Jerry! – were behind the theft.
  22. The Cow Who Sang a Song Into the Future
    While, yes, TCWSSF is a dreamy magical realist fable with an environmental message, Alegría weaves into her tale an emotionally satisfying, gripping family drama, with singing cows – and fish too.
  23. Chile '76
    1976 is made with thrilling assurance, and the tension and Carmen’s spiritual crisis are superbly conveyed, with a nerve-jangling score by María Portugal. It’s a great example of Chilean antifascist noir.
  24. Kill Boksoon
    Like a lot of topline Korean films, this prestige action thriller is a little too long at 137 minutes, but it’s consistently entertaining throughout, and quite well-suited given the length to being viewed on a streaming platform.
  25. The Beasts
    The Beasts is a strange film in many ways, difficult to pin down tonally or generically, but it leaves a trail of unease in the mind.
  26. Mummies
    Not only is it as derivative as chatbot-written free verse, it’s also not even pleasant to look at. Walk like an Egyptian very quickly away from the multiplex.
  27. Riotsville, U.S.A.
    A shiver of disquiet runs right through it.
  28. Ip Man: The Awakening
    This is lightweight, forgettable stuff.
  29. Please Baby Please
    The film feels over-determined and self-satisfied.
  30. Blind Willow, Sleeping Woman
    It has the ruminative lightness, almost weightlessness, the watercolour delicacy and reticence of the emotions, the sense of the uncanny, the insistent play of erotic possibility and that Murakami keynote: a cat.
Page:

Top Trailers

See all »
See all trailers »