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. 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.
  2. 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.
  3. Cry Macho
    Cry Macho is dogged by a slack pace and an inertness that overwhelms, scene after scene of nothing, not a funny line or a moving moment or an unresolved conflict, just nothing.
  4. My Name Is Pauli Murray
    This extraordinary story of an extraordinary person is told via bland film-making reminiscent of a public service announcement.
  5. Bad Tales
    It is a superbly shot, viscerally acted ensemble drama.
  6. Dear Evan Hansen
    The movie asks the audience to not look at two elephants in the room, and unfortunately, no amount of soaring music can relieve that heavy a burden.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Encounter
    It all adds up to less than we hoped, though Pearce’s direction is never less than confident.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. The Last Duel
    An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.
  25. 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.
  26. 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.
  27. Martyrs Lane
    The film coheres quietly, thanks in no small part to the two excellent child performances.
  28. 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.
  29. Kate
    A to-the-point two-hour slab of pulp that slickly glides above a very low bar.
  30. No Man of God
    Both actors contribute knife-sharp timing and the kind of intensity needed to make this essentially two-man setup work.
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