The Guardian's Scores

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For 6,571 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: 2,490 out of 6571
  2. Mixed: 3,762 out of 6571
  3. Negative: 319 out of 6571
6571 movie reviews
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  1. Europe's New Faces
    The lack of story, structure, or any clear editorial principle is a serious impediment to empathy for these poor, struggling people; the 159-minute runtime feels like four years.
  2. The Housemaid
    We get some tastily over-the-top acting and some huge rewind POV shifts to explain what has really been going on – and, of course, the heady whiff of gaslight as Millie can’t quite be sure she really understands anything that’s happening. Silly it may be, but Feig and his cast deliver it with terrific gusto; this is an innocent holiday treat.
  3. Avatar: Fire and Ash
    Avatar is as gigantically uninteresting and colossally impervious to criticism as ever: a vast, blank edifice that placidly repels objection.
  4. Silent Night, Deadly Night
    What none of the tonal shifts and story tweaks can do is distract us from his boringly flat direction, failing to justify why something so drab and cheap-looking would warrant the surprisingly wide theatrical release it’s receiving this weekend.
  5. Goodbye June
    There’s nothing wrong with a weepie or big emotional moments, but for me Goodbye June is too unreal, too contrived in its sugary farewell.
  6. H Is for Hawk
    Audiences might, by the closing credits, think they still don’t quite know what happens to Helen and Mabel in the end, or perhaps at any time, but then again real life can feel messy and unfinished in just this way.
  7. Ella McCay
    Ella McCay is, first and foremost, a mess – a clunky collection of incoherent characters and confounding plot that seem to defy basic story logic at every turn, and not in a surprising or intriguing way.
  8. Flathead
    The film’s poetry resides in its thoughtful inactivity, its vernacular spirituality and its gentleness.
  9. Preparation for the Next Life
    It has a seriousness, an unsentimental readiness to look reality in the face.
  10. Christmas, Again
    Poekel’s style is far too authentic-indie and unaffected to get slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But in its own low-key way, he pitches his film just right for a little squeeze of festive warmth.
  11. Merv
    As it is, Merv is slight and sweet and entirely to expectations. Making a movie about co-parenting a dog is not a bad idea – though I wouldn’t say it’s a great one, either.
  12. Fackham Hall
    This enjoyable silver-spoon romp packs all of its 97 minutes with jokes and bits ranging from the puerile to the genuinely funny, proving that there may yet be more to wring from eat-the-rich satire.
  13. The Tale of Silyan
    Kotevska depicts the growing bond between man and bird with warmth and humour, and while the musical score is a bit on the sappy side, there are enough drolly astringent touches to make this cockle-warming family viewing, if you have a family that likes stories of unhappy agrarian workers.
  14. Little Trouble Girls
    This is an utterly absorbing and outstandingly acted film.
  15. Cover-Up
    Brisk, lucid and sweeping, Cover-Up assures that some, at least, will not.
  16. Oh. What. Fun.
    Nothing can distract us from a script that just doesn’t work, family dynamics we don’t believe, jokes we don’t laugh at and characters we don’t care about. Oh. What. Fun. is anything but.
  17. Five Nights at Freddy's 2
    Like a lot of movies, Five Nights at Freddy’s 2 has its own souvenir popcorn bucket. This may be the first one where the bucket is more entertaining than the feature.
  18. Folktales
    What seems to be most therapeutic is their contact with the dogs. As one teacher puts it: “You are more than good enough for that dog just the way you are.”
  19. Magazine Dreams
    Magazine Dreams itself, though flawed by a cumbersome flashback structure in which he is talking to a counsellor, has powerful moments and Majors is very good, especially in the bizarre scene when Killian insists on going onstage at a bodybuilding event just after being beaten up.
  20. Prime Minister
    The sad thing is that there doesn’t appear to be much space for someone like Ardern in modern politics; less space than ever in fact.
  21. Marty Supreme
    The pure craziness is a marvel.
  22. Wake Up Dead Man: A Knives Out Mystery
    As with the previous Knives Out films, the characters are not, in fact, equally important and equally capable of murder. An inner core of suspects emerges and their guilt discloses itself incrementally at the end, as opposed to being withheld for a final reveal. What a treat though, with cracking turns from one and all and O’Connor the first among equals.
  23. Jingle Bell Heist
    It’s the problem faced when one of these films is raised just above the gutter-level norm, you end up wanting it to be that much better. As it stands, Jingle Bell Heist is as good as it’s getting for now.
  24. Christy
    Sweeney has already shown what a superb and detailed performer she is in the FBI interrogation movie Reality, but this is far inferior: a stodgy, lifeless piece of work.
  25. Sirât
    Sirāt is a path to nowhere, an improvised spectacle in the Sahara; it is very impressive in the opening 10 minutes but valueless as it proceeds, and a pointless mirage of unearned emotion.
  26. Zootopia 2
    There are a few laughs in Z2: of course there are. But they are algorithmically generated and corporately approved. It’s the kind of movie you put on an iPad to keep the children quiet on a long plane or train journey; nothing wrong with that of course, but the heart and soul are lacking.
  27. Cutting Through Rocks
    While we might want to hear more about the specific cultural geography of the Azeri Turk community to which Shahverdi belongs, this remains a thought-provoking portrait of an extraordinary spirit.
  28. The Thing with Feathers
    Quite simply: when the crow is off the screen, the drama starts to be involving and affecting. Once the crow is there, the film looks self-conscious.
  29. Sisu: Road to Revenge
    The good news is that it remains terrific: punchy, old-school stunt work, crisply uncluttered cutting, and varied, inventive baddie-splattering from the moment Aatami deploys one of those beams to take down a jet fighter.
  30. Champagne Problems
    The gimmicks are unfunny, the romance inoffensive, the happy-ever-after straightforward. For all its waxing poetic on the specific luxury of champagne, no one is pretending this is anything other than a mass market item; the things to hate are also the things to like. One might call a critic’s feelings about it a champagne problem.
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