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. Sniper. The White Raven
    As a war movie written by a soldier this material feels oddly lacking in authenticity and authority. And yet it’s a noble attempt to honour the resilience of Ukrainians and the courage of ordinary people like Voronin, fighting for freedom.
  2. Inu-oh
    Retrofitting medieval Noh as a world of guitar gods and cavorting dancers, Inu-oh has its two disabled lead characters make a psychedelic plea in favour of slipping loose from dominant narratives, told in a fecund patchwork of styles by Yuasa that asserts its own outsider credentials.
  3. Amsterdam
    There is something weirdly heavy and foggy in Amsterdam that feels like it’s working against the lightness and nimbleness needed for a caper. It’s the reality of the history, which the movie makes explicit in the closing credits.
  4. The Girl with a Bracelet
    Viewers may be split on the question of exactly how satisfying it all is in the end. The performances are strong.
  5. Girl Picture
    This is such a vivid, lovable triple-decker performance from Milonoff, Kauhanen and Leino.
  6. Smile
    The movie is a shard of comic and cosmic spite, and the image of the malign smile carries force.
  7. Young Plato
    The school is no more dysfunctional than any other institution and a lot more intelligent and self-questioning than many. A very engaging film.
  8. A Jazzman's Blues
    Everything about this film is genuinely absorbing. The performances are restrained. The locations, many of them seemingly on the Perry Studios lot, are lush. The musical numbers are decadent . . . The storytelling is efficient, the scenes well-paced, the command of social and racial politics ironclad.
  9. Lou
    The sheer existence of Lou might be a step in the right direction for women over 50 in action movies, but it’s a misstep everywhere else.
  10. The Justice of Bunny King
    The strength of the writing is in portraying Bunny’s reality, allowing us to wonder – like the social workers – whether she really is a reliable parent. This is thoughtful film-making, though I didn’t quite buy into the explosion of drama at the end.
  11. You Won't Be Alone
    There’s a feminist undercurrent in You Won’t Be Alone, its observations of the patriarchy emerging in ways totally germane to the experience. An odd kind of eroticism also emerges: neither sensual nor entirely gross, and certainly not from the male gaze. Sometimes the film doesn’t even feel like it’s from a human gaze.
  12. After Yang
    The action of After Yang, bizarre and exotic as it is, meditates on what it is to be human and how that may in the future be modified, but it also addresses loss in the present day: our anguished and futile human instinct that death must surely be fixable.
  13. Jeepers Creepers: Reborn
    Neither slicing under the genre’s surface, nor dicing the heritage well, this reboot is more an unseemly act of IP cannibalism.
  14. Blonde
    This is a portrait of Monroe that accentuates her suffering and anguish, canonising her into a feminist saint who died for our scopophilic sins, that we might feast on her beauty and talent. Maybe it’s not an opera but a kind of religious ritual for the modern age, visiting the stations of the crosses Monroe bore, the Passion of the Marilyn.
  15. Meet Cute
    As hard as Cuoco and Davidson try at chemistry – and Cuoco, at least, seems to be really trying – this umpteenth spin on the Groundhog Day time loop is more irksome than endearing, cutesy than actually cute, a downward spiral of uncomfortably performed neuroticism that devolves into a borderline indefensible ending.
  16. Goodnight Mommy
    Sobel’s direction feels a little lesser when compared with his leading lady, relying on dream sequences to push us to the edge, never getting anywhere close to the iciness of the original or finding anything distinctive enough to separate the aesthetic of his take.
  17. Burial
    Parker clearly has ideas he’s aiming at, but lets his target slip in the fog of war.
  18. Sidney
    This documentary is a spirited rebuke to the “sellout” narrative which has been allowed to grow up around his career, and a paean of praise to his commitment, talent and heroism.
  19. What's Love Got to Do with It?
    Khan’s script is one of competency rather than creativity: a sound structure, a propulsive pace and a learned awareness of genre conventions but dialogue that often feels a little first draft, a little placeholder-heavy, zingers not really zinging quite as they should.
  20. The Swimmers
    There’s an extraordinary story to be told here. It’s just a shame it had to be told in such an ordinary way.
  21. Other People's Children
    It is a gentle, heartfelt relationship drama about – and for – intelligent adults.
  22. Master Gardener
    Perhaps Schrader will indeed defiantly return to his accustomed theme for his next film – and this brilliant, restless director might well make it work. Sadly, this one doesn’t.
  23. Devotion
    Training its crosshair on the ingrained prejudice of the military and the question of how well-meaning white allies can best support its undoing, the film compensates for relatively middling action set pieces with a stolid maturity.
  24. Allelujah
    This watchable, undemanding drama rolls along capably, enlivened by unmistakably Bennettian gags and drolleries which come along every minute or so.
  25. Alice, Darling
    It’s a chilling little film, avoiding maximalism at every turn, a bold debut from Nighy (whose only real slip-up is a score that can feel dull and uninspired) and a difficult reminder of a difficult experience. The chill will linger for a while.
  26. Do Revenge
    Its outsized mean girl ruthlessness with a candy-coated shell, led by Mendes and Hawke’s commanding performances, is a biting, if overlong, good time.
  27. Emily
    Emily is a sensitive and passionate portrait of the author.
  28. The Wonder
    A film about the danger of believing without questioning that turns us into full-throated believers in whatever Lelio and Pugh can do.
  29. Clerks III
    Like the junk food that the central characters sell in their convenience store, it’s a strangely moreish brew that you enjoy but feel faintly guilty about consuming, like nachos with cheese-flavoured sauce or a blue slushy ice drink.
  30. The Greatest Beer Run Ever
    [Farrelly's] latest commits itself to regurgitating every Vietnam cliche with the laziest possible visual diction, led by an emotionally overextended Zac Efron.
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