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. Close
    There’s no doubting the force of this drenchingly sad story.
  2. Broker
    The movie is fundamentally silly, with tiringly shallow characterisation and broad streaks of crime-drama intrigue, which only underline the fact that not a single word of it is really believable.
  3. Elizabeth: A Portrait in Part(s)
    Sad to say, it goes down like a cup of tepid, milky and over-sugared tea.
  4. The Sadness
    The recurring dependence on sexual violence as a shock tactic is, however, a desensitising misstep. Nevertheless the assured command of style situates Jabbaz as an impressive new voice in horror cinema.
  5. Anek
    The film might be didactic in tone, but it is the kind of didacticism that injects political integrity into a cinematic landscape sorely lacking a backbone.
  6. Forever Young
    Epically tiresome. ... What is exasperating about the film is its reluctance to dramatise the teaching: to show the young people themselves simply getting better at acting.
  7. Nostalgia
    Mario Martone’s beautifully shot and superbly composed film teeters on the edge of something special. And if it doesn’t quite achieve that, settling in the end for something more generically crime-oriented, it’s still very good.
  8. Leila's Brothers
    Leila’s simmering rage at the contemptible mediocrity of her father and brothers, and the exhaustion of trying to save them from themselves, is the emotional energy that powers the movie, building to that climactic wedding scene. It is a great performance from Alidoosti, first among equals in a great ensemble cast.
  9. Tori and Lokita
    There is a simplicity and clarity of purpose here that I responded to and the Dardennes have got excellent performances from their young leads.
  10. Holy Spider
    Abbasi undoubtedly conveys the brutal attitudes which create victimhood.
  11. Stars at Noon
    This film touches on her keynote themes of sexuality and colonialism, in its 21st-century manifestation, though maybe the romantic passion and duplicity don’t come across as strongly as they might have done with leads who had a stronger chemistry.
  12. EO
    I’m not sure this is my favourite Skolimowski film, but it is engaging in many ways: beautifully photographed, sentimental and surreal in equal measure; and also stubborn – as stubborn as its hero – in its symbolism and stark pessimism.
  13. Elvis
    It’s not a movie so much as 159-minute trailer for a film called Elvis – a relentless, frantically flashy montage, epic and yet negligible at the same time, with no variation of pace.
  14. Enys Men
    It is not exactly a horror film, despite some spasms of disquiet, but an uncanny evocation of how, when left utterly on our own, we spiral inwards into our memories, dreams and fears.
  15. Cairo Conspiracy
    It’s a movie that is boldly anti-clerical, juxtaposing the spectacle of faith with a hidden reality of corruption and hypocrisy – although in the final act I sensed that it perhaps did not quite have the courage of its satirical convictions.
  16. The Bob's Burgers Movie
    It functions elegantly as both a victory lap for longtime fans and a belated introduction to the Belchers, a family of lovable misfits and cranks that’s as genuinely close as any on television.
  17. The Eight Mountains
    This film has mystery and passion, it climbs mountainous heights and rewards you with the opposite of vertigo: a sort of exaltation.
  18. Decision to Leave
    It’s a gorgeously and grippingly made picture and Tang Wei is magnificent.
  19. The Burning Sea
    A regular beat of tension and release plays out as people get saved only to face new dangers, following the template of disaster films since the beginning of cinema, but it’s done well here. The visual effects are impressive, especially the water, which is so notoriously hard to animate.
  20. Moonage Daydream
    It’s a glorious celebratory montage of archive material, live performance footage, Bowie’s own experimental video art and paintings, movie and stage work and interviews with various normcore TV personalities with whom Bowie is unfailingly polite, open and charming.
  21. Crimes of the Future
    It’s an extraordinary planet that Cronenberg lands us down on, and insists we remove our helmets before we’re quite sure we can breathe the air.
  22. Luzzu
    On the face of it, this film is a commentary on the darker side of globalisation and modern commerce, but for Camilleri who was raised in Minnesota in a Maltese family, it also feels like a pilgrimage back to one’s roots, highlighting the specificities of the Maltese language and culture which are still sorely underrepresented in world cinema.
  23. R.M.N.
    RMN is a sombre downbeat movie, whose sudden flurry of dreamlike visions at the very end is a little disconcerting. But it is seriously engaged with the dysfunction and unhappiness in Europe that goes unreported and unacknowledged.
  24. Corsage
    In many ways this is a study in anger, and it is an austere and angular picture. Krieps gives an exhilaratingly fierce, uningratiating performance.
  25. Brother and Sister
    This is exasperatingly nonsensical and humourless: it is full of grand gestures, gigantically self-important acting, big scenes (though often bafflingly truncated), big emotions and smirkingly knowing dialogue. Yet I admit there is technique and gusto to the way it is put together.
  26. Aftersun
    With remarkable confidence, [Wells] just lets her movie unspool naturally, like a haunting and deceptively simple short story. The details accumulate; the images reverberate; the unshowy gentleness of the central relationship inexorably deepens in importance.
  27. One Fine Morning
    For all its tendency to soap opera, it has a lovely happy-sad sweetness.
  28. Triangle of Sadness
    Strident, derivative and dismayingly deficient in genuine laughs, Ruben Östlund’s new movie is a heavy-handed Euro-satire, without the subtlety and insight of his breakthrough movie Force Majeure, or the power of his comparable Palme-winning spectacle about the art world, The Square.
  29. Digger
    It’s a shame that, as it ramps up, this generational tension isn’t dramatised with the sharpness it might have been.
  30. Cordelia
    Perhaps this film doesn’t entirely work all the way through, but it is a shard of malevolence that jabs into your skin.
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