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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  1. Utama
    It’s a gentle and superbly shot film.
  2. Bad Luck Banging or Loony Porn
    The film is a contemptuous slap at boredom, at hypocrisy and at everything petty and mean. I’m not sure that it entirely transcends all these things, but there’s a rebellious spark.
  3. Older Than Ireland
    You’ll shed a tear or two, possibly more.
  4. Tehran Taboo
    The script crackles with such bleak little jokes like this, relieving the tension in a work that could otherwise prove overwhelmingly depressing and borderline melodramatic.
  5. End of Sentence
    Elfar Adalsteins’ directorial debut captures well-trodden paths with fresh eyes.
  6. Thor: Ragnarok
    Comic book movies have spent a long time striving to be taken as serious, grown-up entertainment but Thor: Ragnarok is almost an admission that you can’t play this material straight. This is probably the wisest strategy with Thor.
  7. Going to Mars: The Nikki Giovanni Project
    Her poems, read by Giovanni herself and the actor Taraji P Henson, made the hairs on the back of my neck prickle.
  8. Bird
    It meditates on identity and belonging, the poignancy of not being valued, not being seen, the transition from childhood to adulthood, girlhood to womanhood, sexism and cruelty. The energy and heartfelt good humour offset the moments of cliche and implausibility.
  9. Beats
    Compared with Mia Hansen-Løve’s resonant French house drama Eden, or Michael Winterbottom’s kaleidoscopic 24 Hour Party People, these beats sound tinny.
  10. The Restless
    In narrative terms it never really develops any of its characters or relationships, yet its two utterly heartfelt lead performances make this a grimly authentic spectacle.
  11. The Haunting
    From a potentially creaky, cliche-filled premise (a gaggle of stereotypes are invited to a spooky old house where all is not as it seems), director Robert Wise leads us on a brilliantly unsettling journey.
  12. Wild Indian
    Amid the current explosion of affirmative diversity-driven film-making, there is a kind of strength in such a self-excoriating and uncompromising point of view. Corbine Jr is one to watch.
  13. Queen & Slim
    Queen and Slim doesn’t entirely work. The credibility factor isn’t too high sometimes and there are big set pieces that don’t gel. . . . Yet this is a punchy, watchable film.
  14. Among the Believers
    What I like about Among the Believers, a portrait of radical Islam in Pakistan, is how the first two-thirds of the movie strives to remain as balanced as possible.
    • 73 Metascore
    • 40 Critic Score
    (T)error
    This information needs to be shown to the public, and some will be drawn to it regardless of its form. But as a well-crafted film, it has a long way to go.
  16. Some Kind of Heaven
    Director Lance Oppenheim takes a gentle approach, capturing some hilarious moments, but there’s nothing patronising or mean-spirited about his film.
  17. All This Panic
    Gage’s remarkably intimate portrait of female youth on the verge leaves you with a largely hopeful feeling that this particular group of women will make good on that advice.
  18. From Afar
    [A] terrifically stylish work.
  19. The Surrogate
    No one is a bad guy here, while all of them are also flawed, and the movie keeps the viewer wondering right up to the end what Jess will finally decide.
  20. Beba
    The tone of the film is sometimes a little opaque. There is some slightly cliched 16mm footage of subway scenes and indulgent home-movie material and Huntt’s own voiceover has something of the student graduation piece about it. But there is a rich, dense texture to this very questioning, personal film.
  21. 1945
    The script’s twists are a little predictable and some might query the way the Jewish characters are essentially noble ciphers. But, given the rise of the far right in Hungary at the moment, this is a timely tussle with a nation’s collective sense of shame.
  22. On the Rocks
    There are some cheerfully amusing moments . . . . But really the banter and the elegance needs some substance in the script and it really isn’t here, or not enough of it, and the serious moments seem glazed in a kind of negligent unseriousness.
  23. Scrap
    Kerr’s script doesn’t always match the quality of her interesting, layered lead performance.
  24. Final Destination: Bloodlines
    Where Bloodlines excels is in the clever and often diabolical storytelling craft and visuals. There’s a decadence in the film-making that isn’t at odds with the campy nature of Final Destination but instead realizing its full potential.
  25. Palm Trees and Power Lines
    It’s trite to say a debut performance is a revelation, but the whole film simply does not work without McInerny, who is fully convincing as a girl on an emotional precipice. It’s an astoundingly calibrated turn, one of barely lidded emotions that eventually skitter about
  26. Dossier 137
    It’s high-minded, valuable work.
  27. Miss Juneteenth
    For anyone who values diverse storytelling, Peoples’ portrait of a hardworking woman on the up is a tale of hopefulness – and a reason to hope in itself.
  28. The Party
    Unassuming and old-fashioned funny entertainment isn’t exactly what we associate with this film-maker, but that’s what she has very satisfyingly served up here. It’s not especially resonant or profound but it is observant and smart, with some big laughs in the dialogue. The whole thing is enjoyably absurd though not precisely absurdist.
  29. The Iron Claw
    The Von Erichs endured so much loss, and Durkin manages to convey some of it.
  30. Yannick
    Yannick doesn’t try blurring the lines between reality and performance in any Pirandellian way. The comedy is simpler than that. Yet there’s a touch of sadness as Yannick realises, as many other dramatists have done, that the actors are the ones getting the glory.
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