The Guardian's Scores

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For 6,581 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: 2,495 out of 6581
  2. Mixed: 3,767 out of 6581
  3. Negative: 319 out of 6581
6581 movie reviews
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  1. 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.
  2. 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
  4. 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.
  5. 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
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. One Shot
    It has risibly cliched dialogue and wooden, poorly directed acting from a B-to-G list cast, but it appears to be shot in one continuous take and strictly as an example of choreography and technical skill it’s pretty nifty.
  12. Call Jane
    Call Jane never quite rises to the level of a rousing battle cry, but does offer a studious examination of a past that could, terrifyingly, become our future.
  13. Good Luck to You, Leo Grande
    Perhaps Good Luck to You, Leo Grande does not aspire to a piercingly profound analysis of sex and the human condition. It is, however, an amusing, compassionate and humane drama acted and directed with terrific panache.
  14. Cha Cha Real Smooth
    At a young age, Raiff still remains an exciting up-and-coming film-maker of note and even in his sophomoric slump, there’s enough, coupled with his standout debut, to suggest that better things will come. Hopefully better titles too.
  15. Sharp Stick
    This awkward, misjudged, occasionally sexy film has seeds of a radical, fresh story and flashes of directorial brilliance but is hobbled throughout by the confounding decision to write her 26-year-old main character as either insensitively neuro-divergent or more sheltered child than adult.
  16. Living
    A gentle, exquisitely sad film.
  17. Breaking
    Boyega’s performance has an essential sympathy and dignity that are vital to this drama; an unshowy sense of self-worth that keeps it together.
  18. Fresh
    For those who like their dating movies with a bit of gristle, Fresh is a perfect match.
  19. When You Finish Saving the World
    It’s a film of people telling themselves they’re making a difference without really doing much of anything and it’s hard not to feel similarly unmoved by the time it’s all over.
  20. Emergency
    A ride somehow both warm and stressful, and an inviting mashup of familiar beats made fresh by a trio of grounded, endearing performances.
  21. The Rescue
    Not only is the story compelling, but thanks to how much the event captured the interest of the world’s media, there is a lot of archive footage to splice in among the generous wodges of talking-heads narration from the main participants.
  22. Four Hours at the Capitol
    The underlying collective testimony furnished by Four Hours at the Capitol is that the age of Trump has not yet ended – and the true day of reckoning in the United States is still to come.
  23. A Journal for Jordan
    Director Denzel Washington and his stars do their best with this bland, shallow and awkwardly structured film.
  24. The Last Thing Mary Saw
    The trouble with the film is that beneath the surface lurks … well, perhaps not quite enough to keep the momentum going.
  25. Memory Box
    Edited with minute attentiveness, the film switches back and forth between time periods adroitly in a way that always moves the story forward, while the outstanding performances from the whole ensemble, especially the watchful Vauthier and the fierce Issa, anchor the film.
  26. Mass
    Mass is performed with impeccable intelligence and sensitivity, although sometimes it feels like an exercise in award-winning acting. But I admit it: the final, unexpected dialogue scene, though arguably as stagey and showy as everything else, does deliver a punch.
  27. Nightmare Alley
    It’s [Del Toro’s] most strikingly beautiful film yet, a velvety, precisely styled noir with the year’s most impressively stacked cast (two Oscar winners and six nominees, all bringing their A game) but its sleek shell is sadly as duplicitous as its untrustworthy conman protagonist, blinding us with dazzle but leaving us tricked.
    • 67 Metascore
    • 60 Critic Score
    Brian Wilson: Long Promised Road
    Despite Fine’s conversational interviewing, Wilson is still not enormously articulate or forthcoming, though it’s nice to see him reminisce, however simply, and there are plenty of powerful, telling moments.
  29. Scream
    Perhaps there is less zap in Scream nowadays and archly invoking the newer generation of indie horror - Jordan Peele is mentioned, with absolute respect - only serves in the long run to remind you how elderly Scream is. But it’s still capable of delivering some piercing high-pitched decibels.
  30. Save the Cinema
    A well-meaning but hammy and perfunctorily sentimental heartwarmer in the familiar Britfilm style.
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