The Guardian's Scores

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For 6,601 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: 2,500 out of 6601
  2. Mixed: 3,782 out of 6601
  3. Negative: 319 out of 6601
6601 movie reviews
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    • 74 Metascore
    • 80 Critic Score
    Oliver!
    Some of the set pieces are overdone but the final scenes take on an almost operatic quality.
  2. When the Light Breaks
    The two women’s scenes together give the film its most interesting moments.
  3. Polisse
    A drama with interesting moments, but also some false notes and a wildly bizarre ending.
  4. Don't Let's Go to the Dogs Tonight
    It’s a powerful, immersively detailed film, with three outstanding performances.
  5. Smoking Causes Coughing
    The cumulative effect is very pleasurable. The film has got some Python, Douglas Adams, Charlie Kaufman and also John Waters and Ed Wood Jr in it; it’s also possible that Dupieux has seen Peter Cook and Dudley Moore in Stanley Donen’s Bedazzled.
  6. Catherine Called Birdy
    In Dunham’s hands, the throughline of enduring and discovering one’s worth, however historically imagined, is at once a comfort and a lark.
  7. Mary and The Witch's Flower
    The film has charm as well as a certain deja vu for audiences, although for me it didn’t quite have the distinction of Marnie.
  8. The Measure of a Man
    The Measure of a Man’s decision to keep its conflicts so microscopic in the service of realism is a real problem. Put bluntly, Brize’s touch is so light that it’s immeasurable.
  9. McCullin
    McCullin emerges as an unsentimental, plain-speaking, thoughtful man, disgusted at the inhumanity of war – and yet candid about how he is also personally and professionally drawn to its drama.
    • 74 Metascore
    • 80 Critic Score
    Western
    Poirier directs with a clear eye, an unsentimental mind and a fine ear for table talk. The humour, and there is plenty of it, comes from within, coloured by a view of the human race that combines realism with affection. [08 May 1998, p.7]
    • The Guardian
  11. My Old Ass
    Plaza’s natural toughness gives this film some texture, but the truth is she isn’t in it much. You can spend very, very long stretches of the running time longing for her to re-emerge. So, when she doesn’t, it feels bland.
  12. Jackass Forever
    “This isn’t a Mensa convention!” says one player. Is that disingenuous? Isn’t there, in fact, some advanced showbiz intelligence and surrealist savvy in the way Jackass is set up and edited? Either way, it has a horror-comedy impact.
  13. The Three Musketeers - Part 2: Milady
    It’s still a tremendous spectacle: all four of the musketeers are very attractive characters, particularly the noble and agonised Civil as D’Artagnan.
  14. Computer Chess
    Bujalski really has pulled off something extraordinary here.
  15. Paris 05:59: Théo & Hugo
    The film has its own specific vibe, thanks in part to the writer-directors’ unique, immersive sense of the milieu and the leads’ tender chemistry.
    • 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.
  17. Unrelated
    As if from nowhere, a first-time British film-maker has appeared with a tremendously accomplished, subtle and supremely confident feature, authorially distinctive and positively dripping with technique.
    • 74 Metascore
    • 90 Critic Score
    Gun Crazy
    It's a superbly crafted film by a cult film-maker and features a virtuoso bank robbery sequence shot in a single take from a camera in the back seat of a car.
  19. Midwives
    This is a dark reminder that even childbirth, that most universal human experience, can be clouded by sectarianism and suspicion.
  20. Bones and All
    Bones And All is an extravagant and outrageous movie: scary, nasty and startling in its warped romantic idealism.
  21. Motel Destino
    This film is terrifically acted by its central trio: three intensely and unselfconsciously physical performances in which their bodies are frequently on show, sensual but fragile.
  22. Dune: Part One
    Villeneuve is superb at juxtaposing the colossal spectacle with the intimate encroachment of danger and a mysterious dramatic language that exalts the alienness of every texture and surface.
  23. The Invitation
    While some viewers may complain that the action is too heavily weighted toward the ending, I’d argue that this is a strong example of destination-not-the-journey film-making.
  24. In the Shadow of Women
    Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
  25. How to Make Millions Before Grandma Dies
    This is a tear-jerker that does not shrink from using plangent piano chords on the soundtrack to tell you when to feel sad, but it also has something interesting to say about intergenerational wealth.
  26. Rush
    What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.
  27. The Half of It
    The Half of It is a strong, warm-hearted and quietly progressive addition to the expanding Netflix teen movie pack which treats its target audience with the respect they deserve.
  28. Armageddon Time
    Gray has given us tough, sinewy and memorable New York movies in the past such as The Yards and We Own the Night, but this is weighed down with a sentimental and self-regarding staginess.
  29. Lovesong
    Keough and Malone convey a palpable sense of yearning for one another during these sequences, but Kim and Bradley Rust Gray’s barebones script doesn’t match their efforts.
  30. Colette
    This is a highly enjoyable and bracing piece of work from Wash Westmoreland.
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