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. Gold
    Gold is a minimalistic production, story and setting wise, with an interesting kind of contextual ambiguity: we know there is a wider world beyond the frame, though we don’t know what it looks like. Sparseness is intriguing, but this film is so damn sparse.
  2. Turning Red
    The journey is slick and diverting, and at times incisive, but Turning Red is yet another Pixar film that coasts rather than glides. Hopefully its next offering can turn into something more.
  3. Rebel Dread
    Letts is a brilliant entrepreneur, an inter-disciplinary artist and eloquent speaker about what life was like in the punk era, and despite his (correct) refusal to see things in these tiresomely nostalgist or sentimental terms, there is a pang in recognising the spark of that time.
  4. The Weekend Away
    It’s a thriller by name but less edge-of-your-seat than lounging on the couch, absorbing beats of plot like the ocean tide. A little provocation with slight commitment – that’s not a bad night in by any means.
  5. Nightride
    There’s a propulsive, driving force to the way the film is directed, but there are some things that don’t entirely track.
  6. The Scary of Sixty-First
    To me this feels like a silly smirking film with zero insights into abuse or conspiracy theories.
  7. Aline
    Lemercier’s weirdly grinning, gurning face superimposed on the child’s head creates an unnatural chill that the film fails to shrug off, even after Aline as an adult is supposed to be glammed up with her teeth fixed.
  8. Against the Ice
    Against the Ice is a Danish story flattened for a global audience.
  9. Zeros and Ones
    This film may stretch your patience to the limit and beyond. It’s minor work – but there is always something there, some restless wounded intelligence, a pugnacious worrying-away at something.
  10. Lucy and Desi
    For all the amazement at Ball’s tireless hustle and explosive originality, there’s a terminal lack of both in this monument to her memory.
  11. F@ck This Job
    Narrating the film with occasional gonzo outbursts (“We were so fucking stupid”), Krichevskaya is perhaps over-infatuated with her subject, but then Sindeeva seems like quite a character.
  12. La Mif
    This is an engaging ensemble piece, acted with vehemence and sincerity, though it concludes a little melodramatically.
  13. The Batman
    The ending is tiresome and shark-jumping in the extreme.
  14. Servants
    Pure evil permeates this brief, 80-minute film, whose cold visual brilliance reminds me of the recent movies of Paweł Pawlikowski. It wasn’t until some time after it had finished that I grasped one of the reasons it was so oppressive: there are no women in it at all. There is a chill of political fear.
  15. No Exit
    It’s an airport novel that’s now an airplane movie.
  16. Ronnie's
    Much of the film’s pleasure lies in the glimpses of Soho over the decades: a wealth of photographs, sound clips and archive footage bring the club and the neighbourhood to life. Free of obtrusive talking heads, contributors feature as voices only, and none overstays their welcome.
  17. Hellbender
    Although made on a tiny budget, this highly original exercise in folk horror punches well above its weight with snappy dialogue, trippy visual effects and impressive camerawork.
  18. Studio 666
    The estimable Dave Grohl of the Foo Fighters has bafflingly decided to try everyone’s patience with this insufferable vanity project: a violent gonzo grossout that sadly conforms to the horror-comedy tendency of being neither properly scary nor properly funny.
  19. The Beatles: Get Back - The Rooftop Concert
    This engrossing film is a time capsule of London itself – the faces not so very different from those you would see in the 40s or 50s.
  20. Texas Chainsaw Massacre
    Against considerable odds, a very, very low bar has been met and then shuffled over with this mostly effective and incredibly nasty update, a jolting little slasher that should repulse and satisfy those with a suitably depraved idea of what they are clicking into.
  21. Dog
    Dog lovers eager for a dog movie primarily about a dog will be reassured by the knowledge that Dog does feature plenty of dog but they might be a little surprised about what else the film has to offer, an odd and atonal ramble across the US where the dog comes first and plotting comes a long way after.
  22. For Lucio
    Perhaps it’s more for insiders and specialists, but this film is a taste of Italian life.
  23. Robe of Gems
    It is a disturbing and unsettling piece of work, a psycho-pathological moodboard of a film, in which guilt, horror and shame poison the atmosphere.
  24. Rimini
    Perhaps this one doesn’t take Seidl’s creative career much further down the road to (or away from) perdition, but it is managed with unflinching conviction, a tremendous compositional sense and an amazing flair for discovering extraordinary locations.
  25. Peter von Kant
    There is something lighter, almost flippant and French-farcical about this new Von Kant: a man brought low by l’amour, inviting from the audience hardly more than a worldly, sympathetic shrug.
  26. The Passengers of the Night
    This is a film that doesn’t set out to push your emotional buttons all that hard, or even at all. But it covers a surprising amount of narrative ground and there is always something engaging and tender to it.
  27. Nobody's Hero
    The film stands or falls by its claims to deadpan comedy – but this is heavy-handed and unsatisfying.
  28. The Real Charlie Chaplin
    This film may not have all that much new material but it piercingly asks the right questions about Chaplin’s elusive reality.
  29. The Line
    [An] engrossing, unnerving but unexpectedly sympathetic drama of family dysfunction.
  30. They Live in the Grey
    In a way the film’s best bits are the quiet scenes where the audience is primed to expect something awful is about to happen, only to find the point is not a jump scare but a harrowing emotional insight.
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