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 Alpinist
    The film-makers’ enthusiasm for his clarity of purpose is all well and good, but it does leave the film prone to hyperbole, and perhaps a more measured, sideways look at the weird dropout culture around climbing would have been more interesting.
  2. 23 Walks
    There are also some well-observed touches, especially concerning the fleeting friendships dog-walkers make with each other and the diversity of London’s population.
  3. The Many Saints of Newark
    Michael Gandolfini is goosebump-inducing as the young Tony Soprano, amid race riots and antagonism towards rival African American gangs.
  4. Only You
    It’s a poignant and compelling Venn diagram of passion and heartache.
  5. True Things
    True Things is not a bad film, exactly. The actors play it like they mean it, while the drama itself carries a natural dry charge. But it’s unambitious, sometimes clunky and doesn’t wrong-foot us once.
  6. Mona Lisa and the Blood Moon
    Mona Lisa and the Blood Moon offers street-food for the senses, served with lashings of hot sauce. It’s hardly nutritious but it tastes fine in the moment, wolfed down on the run.
  7. Old Henry
    Old Henry is a determinedly low-aiming affair.
  8. 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.
  9. The Box
    Vigas’s direction is efficient, pedestrian, entirely built for purpose. But he manages to keep the audience on-board throughout the tale’s twists and turns.
  10. Captain Volkonogov Escaped
    Its line of attack is remorseless, an ongoing rain of hammer blows, and yet it never feels especially dour or heavy. If anything, Chupov and Merkulova’s handling of the material is almost playful, choosing to frame Stalin’s Russia as nightmarish deadpan comedy.
  11. The Survivor
    The Survivor wins on points, a decent and honourably intended picture about one man’s ordeal in the horror of the Holocaust and the heartbreak that came afterwards.
    • 85 Metascore
    • 80 Critic Score
    Oasis Knebworth 1996
    The joy of live music is in immediate, fleeting sensation, which doesn’t need to get caught on the hide of history. But that sensation is something Carruthers captured brilliantly in 1996.
  13. Everybody's Talking About Jamie
    The broad characterisation, dialogue and scene transitions probably worked better on stage, but they give a bounce to this feelgood Britfilm version.
  14. Fauci
    This is a celebratory film, and it’s easy to agree with its praise for Fauci’s intellectual heroism, especially when reactionary anti-science charlatanism is running rampant across the internet and the political right. But the documentary maybe doesn’t nail the historical paradox at its centre: Fauci has been vilified twice in his life, from different directions.
  15. Prisoners of the Ghostland
    The result is predictably excessive, noisy and more than a little exhausting. But mostly in a fun way, as long as you’re not bothered by gratuitous violence, incoherence and a deep streak of silly.
  16. Little Girl
    This extraordinary documentary by director Sebastien Lifshitz, who has made many films about the LGBTQ+ experience (Wild Side, Bambi, Open Bodies), achieves a remarkable degree of intimacy with its young subject and her family.
  17. My Name Is Pauli Murray
    This extraordinary story of an extraordinary person is told via bland film-making reminiscent of a public service announcement.
  18. Bad Tales
    It is a superbly shot, viscerally acted ensemble drama.
  19. Hallelujah: Leonard Cohen, a Journey, a Song
    Hallelujah is one for the fans, thorough and informative, like a set of cinematic liner notes, largely content to marvel at the majesty of its subject and the vibrant afterlife of his work.
  20. Together Together
    Together Together suffers a little from being too polite, as a comedy it lacks snarl, and as a drama it lacks, well, event. Nothing much really happens – but maybe that’s the point.
  21. The Forgiven
    The film’s strange scrappy indefinability is both its blessing and curse. We’re left with pieces, interesting on their own and sometimes together, but not quite enough to complete the puzzle.
  22. The Djinn
    Charbonier and Powell like moving through the apartment in Steadicam but this results in a soupy style that seeks to cover for the lack of positional imagination and rigour in the script.
  23. I Carry You with Me
    Revolving around a tender true love story, this first narrative feature from seasoned documentary director Heidi Ewing (which won a couple of awards at Sundance) is a fascinating – though at times uneven – blend of film styles.
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