The Guardian's Scores

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For 6,577 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 2.2 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. Life, Animated
    It’s a beguiling mix of animated storytelling and narration that doesn’t flinch from exploring the emotional highs and lows that accompany a life with autism.
  2. The Love Witch
    LA film-maker Anna Biller achieves an ecstasy of artificiality in this amazing retro fantasy horror, delivered with absolute conviction.
  3. London Road
    London Road was a mighty success on stage. Now it is a unique triumph on the movie screen.
  4. Barry Lyndon
    Barry Lyndon is an intimate epic of utter lucidity and command.
  5. Sid and Nancy
    Tremendously acted by Gary Oldman and Chloe Webb with exactly the right absence of sympathy, although Cox arguably loses his nerve on this score in the film’s dying moments.
  6. Moonlight
    It’s a thrilling, deeply necessary work that opens up a much-needed and rarely approached on-screen conversation about the nature of gay masculinity.
  7. Three Colors: Blue
    There is a wonderful reach and flair in Kieślowski’s film-making.
  8. Three Colors: White
    What a strange confection White is – an opera of male agony and outrageously implausible picaresque adventure. Yet it succeeds amazingly on its own melodramatic terms.
  9. Three Colors: Red
    With music by Zbigniew Preisner, it is an almost supernatural contrivance: brooding on coincidence, fate and the insoluble mystery of other people’s lives, with some cosmic parallels and existential echoes that recall his earlier film The Double Life of Véronique. And all in a tone somehow both playful and laden with gnomic seriousness.
  10. The Double Life of Veronique
    The elusiveness of the film is precisely the point: it is as beautiful and mysterious as a poem and its formal elegance and conviction are unarguable. What makes it a must-see, however, is the generous, unselfconscious passion of Jacob's performance as a young woman - two young women - in love.
  11. I Called Him Morgan
    Kasper Collin’s I Called Him Morgan isn’t just the greatest jazz documentary since Let’s Get Lost, it’s a documentary-as-jazz.
  12. Jackie
    It’s a singular vision from an uncompromising director that happens to be about one of the most famous women in American history. Jackie is not Oscar bait – it’s great cinema.
  13. Lady Macbeth
    Cleverly, it gives us enigmatic backstory hints that may or may not help explain the sudden direction change the film takes in its third act, leading to a denouement of toxic ingenuity. And of all it driven by the sensuality and rage of Pugh’s performance.
  14. Get Out
    Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel.
  15. I Am Not Your Negro
    It is a striking work of storytelling. By assembling the scattered images and historical clips suggested by Baldwin’s writing, I Am Not Your Negro is a cinematic séance, and one of the best movies about the civil rights era ever made.
    • 87 Metascore
    • 100 Critic Score
    Tampopo
    A self-assured gem constructed like the bowl of classic ramen the characters strive to cook: a collection of individual parts perfectly arranged.
  17. Downsizing
    A less polished director might have become lost and confused along the film’s lengthy running-time. But Payne’s handling is perfect. He never puts a foot wrong, rustling up a picture that is as bright as a button and as sharp as a tack.
  18. A Star Is Born
    For one star to get an award, a handful of defeated nominees have to swallow their pain, as the spotlight moves away from them. For one star to deliver the shock of the new, another one has to receive the shock of the old. A Star Is Born turns that transaction into a love story.
    • 85 Metascore
    • 100 Critic Score
    Starless Dreams
    [A] brilliant documentary.
  20. Call Me by Your Name
    There is such tenderness to this film. I was overwhelmed by it.
  21. Mudbound
    A hundred well-placed plot breadcrumbs lead us to our perfect ending, but apart from scriptwriting craft Rees gets in some bravura scenes of high tension.
    • 74 Metascore
    • 100 Critic Score
    Casting JonBenét
    This isn’t really a film in search of a definitive truth – it’s a deliberate provocation to the conventional notion of truth in the age of media frenzies over salacious crime.
    • 86 Metascore
    • 100 Critic Score
    City of Ghosts
    The film is about more than simply personal loss and Heineman’s admiration of journalist activists. It’s a guide to the media war being fought between Isis’s video team and RBSS.
  24. Whose Streets?
    Directors and activists Sabaah Folayan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television.
  25. Phantom Thread
    There is such pure delicious pleasure in this film, in its strangeness, its vehemence, its flourishes of absurdity, carried off with superb elegance.
  26. mother!
    As horror it is ridiculous, as comedy it is startling and hilarious, and as a machine for freaking you out it is a thing of wonder.
  27. A Fantastic Woman
    A Fantastic Woman is a brilliant film: a richly humane, moving study of someone keeping alive the memory and the fact of love.
  28. Okja
    The pure energy and likability of this film make it such a pleasure.
  29. The Sting
    The Sting is the most purely enjoyable film in Oscar history – and that, I think, puts it in the most valuable American film-making tradition of all.
  30. The Death of Louis XIV
    This quietly amazing film is conceived in terms of pure minimalist intimacy.
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