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. Encounter
    It all adds up to less than we hoped, though Pearce’s direction is never less than confident.
  2. The Electrical Life of Louis Wain
    Director Will Sharpe is a potent talent whose early movies Black Pond and The Darkest Universe I loved – but this is a strained film, overwhelmed with self-consciousness at its own unearned period-biopic prestige.
  3. Benediction
    Benediction is not an easy experience and some of the caustic, brittle dialogue scenes with Sassoon’s celebrity acquaintances are grating – yet deliberately so. The sadness is overwhelming.
  4. Hellraiser: Judgment
    Where the first few Hellraisers had an interesting if somewhat icky erotic tang to them – alluding to S&M/fetish culture as much as horror, and featuring female protagonists – Judgment is less about desire than just straight-up misogyny and gory, gross-out money shots.
  5. The Lost Daughter
    I’m not convinced, on balance, that Gyllenhaal’s delicious drama is finally much more than a storm in a teacup. But what a cup, what a storm. When Hurricane Colman blows in from the sea, be sure your roof’s in good shape and that all the windows are fastened.
  6. The Paper Tigers
    Tran adroitly layers the fight sequences, filmed with fluidity and at least substantially performed by the main actors themselves, between frothy layers of blokey banter.
  7. The Mad Women's Ball
    Contrived and possibly overheated though the film might be at times, there is real storytelling gusto to it, and Laurent punches it across with relish.
  8. The Eyes of Tammy Faye
    The Eyes of Tammy Faye’s focus might be all over the place, but our eyes remain trained directly on Chastain.
  9. Il Buco
    It’s not quite a documentary, yet nor is it exactly a narrative feature. It lives alone; the cinematic equivalent of a hermit on a mountaintop.
  10. The Starling
    Every implausible scene, every unconvincing character, every contrived dollop of symbolism, every toe-curlingly misjudged and unearned emotional climax seems as if it has been concocted in some secret bio-warfare lab for assaulting your mind with pure, toxic nonsense.
  11. Happening
    Adapted from Annie Ernaux’s autobiographical novel, the film plays its private trauma as a harrowing thriller, and showcases a superb performance from Anamaria Vartolomei as Anne Duchesne, the agonised student in the spotlight.
  12. The Wonderful: Stories from the Space Station
    This film is a capable, wholesome tribute to a project that is about as warm and fuzzy as space travel gets.
  13. The Last Duel
    An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.
  14. The Guilty
    Perhaps to overcompensate for the lack of conventionally opened-out dramatic action, there is some big closeup acting from Gyllenhaal, but it’s a well-made and watchable picture of a man in the secular confessional box, a sinner forced to occupy the place of a priest.
  15. Malignant
    If only they’d put fuller faith in the true nature of their premise, and leaned all the way into the kookier side of body horror. Instead of trying for the sophistication of Cronenberg and coming up short, they’d be better off embracing the near-absurdity of lower-rent cult objects like Basket Case from the start.
  16. Martyrs Lane
    The film coheres quietly, thanks in no small part to the two excellent child performances.
  17. The Lost Leonardo
    As with all documentaries about art, we are left uneasily wondering if the galleries of the world are full of “wrong attributions” or straight-up fakes.
  18. Kate
    A to-the-point two-hour slab of pulp that slickly glides above a very low bar.
  19. No Man of God
    Both actors contribute knife-sharp timing and the kind of intensity needed to make this essentially two-man setup work.
  20. Herself
    There’s a strong basis of originality here, and the warmth and good nature of the movie carries it along.
  21. Respect
    In the leading role as the queen of soul, Jennifer Hudson comports herself as well as could be hoped considering the material she’s been given, which demands that she reinvigorate a rote character arc with her own passions.
  22. Yakuza Princess
    It’s been compiled with enthusiasm, flashes of skill, and a certain devil-may-care cheek – an infusion of newish blood for a Brazilian film industry that’s been badly drained in recent years.
  23. The Voyeurs
    Mohan handles his audience with care, diligence, attentiveness, creativity, smoldering passion – the mind positively swims with sexual metaphors. That’s the headspace in which this film leaves us: a well-made gutter we haven’t had the chance to visit for far too long.
  24. Halloween Kills
    Forty years after John Carpenter made the defining slasher movie, director David Gordon Green has made a creditable stab, as it were, at reanimating the title.
  25. From the Vine
    An Italian-American man in late middle age rejects the rat race and embarks on a voyage of self-discovery and winemaking in this lifelessly unfunny comedy.
  26. Copilot
    Anne Zohra Berrached’s film is ambitious and interestingly intended, but naive and flawed, with a fundamental problem, which is right up there in the title.
  27. Sweet Thing
    This small, delicate, late-blooming film is quite lovely, and a throwback to the 1990s/2000s craze for semi-improvised, rough and ready indie film-making.
  28. Sundown
    It’s pitiless and pitch-perfect, an existential tour-de-force with shades of Camus’s The Outsider.
  29. Wife of a Spy
    There is sweep and confidence in this movie
  30. Boiling Point
    The explosively potent Graham does deliver a colossal, intimate ending, acted with complete and affecting sincerity. He has presence, potency and force.
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