The Guardian's Scores

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For 6,594 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: 2,497 out of 6594
  2. Mixed: 3,778 out of 6594
  3. Negative: 319 out of 6594
6594 movie reviews
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  1. Undine
    It is possible to come away from the film less than convinced, but very impressed by the sheer force of Petzold’s film-making talent (recently so stunning in his drama Transit) but which has been here deployed for something which is a bit flimsy and silly.
  2. Under the Tree
    Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.
  3. Elizabeth Taylor: The Lost Tapes
    However partial, though, and however little new material it has to offer, even for the amateur fan like me, the film remains a heady treat. Because it is about Elizabeth Taylor. They don’t make them like they used to – and they probably never will again.
  4. The Count of Monte Cristo
    The pay-off is a fast-moving, good-looking gallop of Mission: Impossible-style mask play, languorous conniving in courtyards and occasional outbreaks of derring-do that chews up three hours without pausing for quail sandwiches.
  5. The Wolf of Wall Street
    The Wolf of Wall Street, for all its abundant appeal, is no Greek tragedy. It lacks the wildness of Taxi Driver, the jeopardy of GoodFellas and the anguish of Raging Bull. Far better to view this as a stylistic homage, a remastered greatest hits compilation, an amiable bit of self-infringement.
  6. Notes on Blindness
    It is a thoroughly absorbing and moving film, especially when Hull has a dream about recovering his sight and seeing his children. The tone is sober, unflashy, and Hull’s reflections on God are presented without any hectoring or special pleading. Affecting and profoundly intelligent.
  7. Nothing Lasts Forever
    Managing to get access to some of the biggest names in the industry, including De Beers CEO Stephen Lussier (who perhaps not coincidentally retired this month), Kohn opens up a bijou microcosm of capitalism in the age of quantum reproduction.
  8. My Name Is Alfred Hitchcock
    Well, point-by-point, clip-by-clip, this film remains brilliant. As ever, there is real evangelism in Cousins’s work and in My Name Is Alfred Hitchcock there is so much to learn and enjoy. You come away from it with your senses fine-tuned.
  9. Dark Horse
    With its sheer warmth and likability, this good-natured documentary won my heart.
    • 75 Metascore
    • 80 Critic Score
    House of Usher
    The movie, shot in CinemaScope and colour, is punctuated by shocking moments, but is more notable for its claustrophobic, doom-laden, necrophilic atmosphere and elegant camerawork than the kind of fashionable, in-your-face horror that was launched in the same year by Psycho.
  11. The Two Popes
    An enjoyable double-act – but not an infallible one.
    • 75 Metascore
    • 80 Critic Score
    Muscle Shoals
    A stubborn charmer whose life was a magnet for tragedy, Hall is the emotional centre not only of the Muscle Shoals sound but of this film.
    • 75 Metascore
    • 80 Critic Score
    The Landlord
    A still wonderfully penetrating, wise and exact meditation on race relations at the end of the 1960s.
  14. Notturno
    It isn’t that Rosi has removed the context, it is more that he has supplied a new context, a more universalised, humanistic context of the spirit – with some artistic licence. But I felt that his earlier films give us a more intimate access to people’s lives than Notturno does, for all its intelligence, empathy and stoicism.
    • 75 Metascore
    • 80 Critic Score
    Misery
    Reiner’s film, the perfect 90-minuter, is sometimes a little stretched at 107 minutes. Nevertheless it maintains its tension well, plays enough tricks on us so that we don’t ever treat anything quite seriously and Goldman’s script has enough good lines and situations to keep one interested in exactly what is coming next.
  16. Stamped from the Beginning
    The film’s particular innovation is to privilege Black women’s perspectives on the history of American racism, and with the exception of Kendi himself, every expert commentator here is a Black woman.
  17. The Son of Joseph
    The Portuguese Nun (2009) was a gem of gentle comedy, and his new drama, The Son of Joseph, has the same droll innocence and lovability. With its carefully controlled, decelerated dialogue, it is weirdly moving in just the same way.
  18. Fyre
    Fyre allows you to marvel, and to feel – how spectacular the hubris, how gross the unfairness – while reminding that whether you bought a ticket or not, you were the audience the whole time.
  19. Last Summer
    Breillat’s movie rolls along capably enough while the affair is in progress, but it’s tested to destruction when things go wrong. She is not good at delivering the iciness crucial to the story’s third act, happier as she is with the sunny, languorous sexiness of the amour fou.
  20. Goodbye to Language 3D
    It is an uncompromising and exasperating 70-minute cine-collage placed before us on a take-it-or-leave-it basis, composed of fragments of ideas, shards of disillusionment.
  21. The French Dispatch
    It might not be at the very zenith of what he can achieve but for sheer moment-by-moment pleasure, and for laughs, this is a treat.
  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. Lost in La Mancha
    It’s a documentary that should be shown in all film schools.
  24. Bernie
    Black's performance is a revelation: foregoing his usual repertoire of jiggling, tics and head-waggling craziness, Black ensures Tiede is a satirical creation of considerable substance. Really impressive.
    • 75 Metascore
    • 80 Critic Score
    Road to Morocco
    Timeless entertainment. [24 Dec 2005]
    • The Guardian
  26. Fever Dream
    The whole thing is a bit bonkers but very beautiful too.
  27. Benedetta
    Verhoeven just presents us with the raunchiness, using the religiosity as set dressing.
  28. Blind Ambition
    It’s almost too perfectly contoured as a Hollywood narrative.
  29. The Invisible Woman
    The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
  30. Tully
    Much but not all of this movie’s good work is undone by its silly and unconvincing ending.
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