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. Reminiscence
    The reminders of Inception become so distracting that the film starts to border on pastiche. ... It’s overwhelming, even suffocating at times, which is a shame because there are elements here that work independently, without the need for the Nolan playbook to be so obsessively followed.
  2. The Night House
    There are enough crafty surprises buried within The Night House to just about outweigh the elements that don’t work quite as well, mainly because it’s all delivered with such fiery conviction by Hall. The house might be built on shaky foundations but its inhabitant is utterly unshakable.
  3. People Just Do Nothing: Big in Japan
    What really redeems the film are the brilliantly observed characters: these are archetypes of modern Britain that nobody really nailed before. Created by the principal actors themselves, they are generally portrayed with affection rather than condescension, and performed so convincingly that a newcomer might well believe they were real people.
  4. Beckett
    Like Beckett trying to escape his pursuers, it’s a scrappy little film but one worth keeping up with.
  5. The Fever
    The Fever is a calm and quiet and subtle film, a little inert perhaps, but deeply engaged with the hidden lives of Brazil’s indigenous people. There is poetry in it.
  6. Midnight in the Switchgrass
    Even though it’s largely deeply undistinguished work, credit is due to whoever rustled up some great supporting actors for little roles around the edges, such as Welker White as the mother of one murdered kid, and Samiah Alexander, who is a hoot as a punctilious trucking company secretary.
  7. New Order
    On the most basic level, it is a warning of what inequality can cause in the future and what it is effectively causing right now. Perhaps there is something nihilistic here, but New Order very effectively persuades you that a real-life revolution might well be every bit as ugly, horrifying and un-Hollywood as this shows – and that it is on the way.
  8. I'm Your Man
    I was disappointed with a film whose crises and dilemmas seem laborious and essentially predictable; it does not fully work as sci-fi or satire or comedy.
  9. WeWork: Or the Making and Breaking of a $47 Billion Unicorn
    Jed Rothstein’s very entertaining documentary is another horror story from the tulip-feverish world of tech startups.
  10. Don't Breathe 2
    Don’t Breathe 2 is not only struggling for air but it’s struggling for purpose and meaning and hopefully this weekend, audiences too.
  11. Bleed with Me
    Moses’ story circumnavigates a relationship between two women, one that is charged with an intensity that’s more than platonic but less than erotic, and inflected by an unequal power distribution.
  12. Free Guy
    Free Guy isn’t going to have many MA theses written about it, but it has entertainment value.
  13. Zola
    Now this has been turned into a very entertaining lowlife crime comedy from director and co-writer Janicza Bravo, a film that preserves the fishy flavour of the online original – if perhaps only semi-intentionally – and has interesting things to say about the exhaustingly performative and self-promotional world of social media.
  14. Vivo
    The eye-popping gloss of Vivo will probably lure in impressive numbers for Netflix (the animation itself is generic but impressive) but in a genre that promises so much magic, the spell cast by Miranda and co is a brief one.
  15. The Sparks Brothers
    It is simultaneously exasperating and magnificent that he shows no interest whatever in asking the Mael brothers anything about their personal, emotional or romantic lives.
  16. Settlers
    Settlers isn’t perfect: some of the storytelling beats aren’t hit as clearly as they could have been. But it’s a quietly impressive piece of work.
  17. Spirit Untamed
    It’s a sweet, undemanding film that, despite the title, is tamer than a sedated bunny. That said, the four-year-old I watched with spontaneously yelped “this is the best!” 20 minutes in. So really, what do I know?
  18. The Suicide Squad
    Not everything works here, but the sheer crazy confidence-through-chaos of the Suicide Squad and their bizarrely dysfunctional MO makes for a mighty spectacle.
  19. The Most Beautiful Boy in the World
    It is a desperately unhappy story, sympathetically told by film-makers Kristina Lindström and Kristian Petri.
  20. Jungle Cruise
    The spark that was there in the opening section disappears and the film splutters out into something directionless and derivative and dull.
  21. Out of Death
    The film squanders one or two promising plot ideas, and winds up making a hamfisted paean of praise to the idea of “open carry” gun ownership.
  22. The Offering
    It’s a shame that Durall doesn’t find his torrid and sophisticated story the visual register it deserves, leaving The Offering with a humdrum televisual ambience that’s a bit unsatisfying.
  23. The True Don Quixote
    A whimsical, good-natured romp, sure, but one that’s only mildly amusing.
  24. The Garden Left Behind
    It’s not reasonable to ask that the film keeps Tina safe, but a sense from the start that things might end badly for her made me wince a little even during the lovely, authentic-feeling scenes of her life.
  25. Man Under Table
    Money can’t buy you good comic instincts, inventiveness or a sense of playful whimsy, but, fortunately, Taylor and his handful of collaborators have all that for free.
  26. The Boy Behind the Door
    In the end this is a fundamentally genre-subservient film, staying within the safe lines that absolves it from getting close to the true horrors it hints at.
  27. The Green Knight
    David Lowery’s complex, visually sumptuous and uncommercial tale of Arthurian legend revels in upending expectations.
  28. Off the Rails
    The net effect of Debbie Harry popping up at 10-second intervals on the soundtrack to top up levels of ironic sass is to highlight how that quality is in generally short supply in the script.
  29. The World to Come
    Fastvold’s film is distinctive in that she shows us how physical constraint and violence are part of the fabric of living.
  30. Val
    It’s pure hagiography and taken as that, it’s skillfully assembled, even stylishly so at times, and Kilmer’s insights into his art skirt just the right side of Inside the Actors Studio indulgence but as a portrait of a star known for his rough edges, it’s all far too smooth.
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