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. The Outfit
    It’s an entertaining, fairly overwrought piece, a little tightly buttoned.
  2. Dark Glasses
    Dario Argento’s return to directing after a 10-year absence has its moments of macabre and melodramatic invention.
  3. Both Sides of the Blade
    Claire Denis’s new film is a seductively indirect love triangle, a drama of the mind as much as the heart. It’s intriguing if contrived and anticlimactic, though acted at the highest pitch of sensual conviction.
  4. The Chaperone
    All the corny romance stuff is about as intrinsic to the film’s soft appeal as the scrupulously well-made frocks, encompassing late Edwardian lace and flapper-style dropwaist numbers, and dozens of well-turned cloche hats.
  5. Here Before
    The question of whether this is a ghost story or if Laura is experiencing a kind of psychological breakdown twists and turns in ways that lost me by the end. Still, it’s is a very accomplished debut from Gregg, and acted with subtlety and sensitivity by Riseborough.
  6. Flux Gourmet
    Flux Gourmet is sometimes funny and always exotic, and every moment has his distinctive authorial signature. But I am starting to wonder if his style is becoming a hipster mannerism with less substance, and a less live-ammo sense of actual danger.
  7. Incredible But True
    Incredible But True has a wacky premise that Dupieux very possibly had no idea how to develop. And yet I found myself laughing quite a lot of the time. The sheer silliness and zen pointlessness is entertaining.
  8. Froth
    The threading together of the different stories is overly opaque at times, but Evgeny Rodin’s atmospheric cinematography is a marvel, imbuing a Tarkovsky-esque ethereality to a land that has fallen out of step with the modern world.
  9. Gehraiyaan
    While the lurid twists and turns are enjoyable in a 90s erotic thriller kind of way, the sudden shift towards suspense hampers Padukone’s performance.
  10. Bigbug
    With his work now migrating online and his jerry-rigged methods increasingly outsourced to post-production effects, Jeunet can’t avoid the impending digitization of cinema, nor life. Still, he’s not going down without landing a few good fingers to the ribs first.
  11. Uncharted
    It’s a huge greenscreen action-adventure with a reasonable bang-buck ratio, but a box office algorithm where its heart is supposed to be.
  12. Marry Me
    Jennifer Lopez is radioactively humourless and Owen Wilson is robotically bland in this stinker.
  13. The Sky Is Everywhere
    Decker infuses Nelson’s screenplay with a potent dose of whimsical fantasy, morphing Lennie’s tortuous bereavement into a lonely house, a romantic musical journey and a garden where other complicated, confusing emotions grow.
  14. I Want You Back
    It’s a far better version of a romantic comedy than we’re used to streaming of late.
  15. Flee
    This animated documentary from Danish film-maker Jonas Poher Rasmussen is an irresistibly moving and engrossing story, whose emotional implications we can see being absorbed into the minds of the director and his subject, almost in real time.
  16. Death on the Nile
    Branagh brings something spirited and good-humoured to the role of Poirot, but the film’s attempt to create some romantic stirrings to go with the activities of those little grey cells is not very convincing.
  17. Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train
    Squint a bit, relax your mind and you might find in it a touching allegory that accidentally corresponds to our own, collective emergence from the oneiric, mesmeric lull of lockdown life, in which sleeping too much and dreaming about dead loved ones could have become the new going out.
  18. Belle
    It is an intriguing story, although I have to admit to feeling a bit bemused at the arbitrary way the Beast story is inserted into the already tense and interesting situation of Suzu/Belle and her relationships with people at home and school.
  19. Moonfall
    Here the formulaic silliness, sometimes part of the enjoyment, is just tiring.
  20. 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.
  21. Navalny
    If you’re coming in with a blank slate, then Navalny is a feast of evermore unbelievable details and a window into a movement against a state of increasingly boldfaced, demeaning lies.
  22. Resurrection
    It has the feeling of a short film stretched beyond its limit, with all that early tension dissipating, and while there’s certainly something jolting about the gonzo violence in the finale, it’s otherwise ineffectual.
    • 72 Metascore
    • 40 Critic Score
    Nanny
    Nanny, as a whole, packs a rather toothless punch. It feels loosely assembled – chock-full of original ideas, intriguing imagery and plot devices, many of which either oddly wind up as loose ends or get resolved in a hurry.
    • The Guardian
      • Posted Jan 28, 2022
  24. Nothing Compares
    Nothing Compares is simply more about the Sinéad you already know. But a critic’s original sin is to review the movie you want to see, not the movie that exists. To that end, with expectations managed, Nothing Compares is a quite engaging document.
  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. Parallel Mothers
    The film allows you to ponder not just the mother-child bond – strong enough to confront fascism – but the way everyone has to let their children be influenced by strangers; the unintended upbringing of being out in the world. What an emotional experience.
  27. Sing 2
    It feels like a screensaver, a movie generated by an algorithm, the same algorithm that calculated the likely profit on extending the Sing franchise.
  28. You Won't Be Alone
    It’s a deft and thrilling conceit, experiencing the highs and lows of life through different people. Stolevski, in a film that feels less like a debut and more a late-stage magnum opus, has found an ingenious vessel to make profound observations on gender, sex and being.
  29. Emily the Criminal
    Ford has a knack for making us sweat without relying on an over-egged score or over-stacked stakes. It’s a genre movie with its feet firmly on the ground, small in scale and tight in focus.
  30. Am I OK?
    Am I OK? is strongest when embedded in the two friends’ well-worn, effusive bond, in sickness or in health – when the fight comes the barbs are believably lacerating, the kind only best friends can wield.
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