The Guardian's Scores

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For 6,610 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: 2,503 out of 6610
  2. Mixed: 3,787 out of 6610
  3. Negative: 320 out of 6610
6610 movie reviews
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  1. Violation
    Building to a remorseless climax, Sims-Fewer and co-writer/director Dusty Mancinelli brilliantly, and times almost unwatchably, overhaul the rape-revenge movie as something far more realistic, traumatised and noxious.
  2. In Pursuit of Silence
    The film occasionally hits a rather loud note of passive-aggressive piety, but it is very persuasive.
  3. Handling the Undead
    It works in parts, as a study of the ache and irrationality of grief, asking its characters how much they’re willing to accept and deny in order to see their loved ones again. But the first-time director Thea Hvistendahl’s patience-insisting slow burn can be testing, like watching a block of ice slowly melt, a story told in the smallest of drips, some of which sink in deeper than others.
  4. Blind Willow, Sleeping Woman
    It has the ruminative lightness, almost weightlessness, the watercolour delicacy and reticence of the emotions, the sense of the uncanny, the insistent play of erotic possibility and that Murakami keynote: a cat.
    • 69 Metascore
    • 60 Critic Score
    The Mermaid
    This live-action cartoon finds Stephen Chow (Shaolin Soccer) elevating a Disneyish set-up – ruthless developer is mollified by the mermaid inhabiting the lagoon he’s plundering – with more of his usual good-to-inspired sight gags.
  6. Faye
    Faye isn’t an exposé. It’s a misty-eyed homage made in collaboration with its subject – and one that relies too heavily on allusion and inference to be truly candid or revelatory.
  7. In Another Country
    In Another Country looks very much like something written on a napkin and shot in the one afternoon that Huppert could come to South Korea. Slight, diverting, forgettable.
  8. Why Don't You Just Die!
    Why Don’t You Just Die! is an accomplished film that makes the very most of its limited sets, without seeming constricted or stagey.
  9. Prime Minister
    The sad thing is that there doesn’t appear to be much space for someone like Ardern in modern politics; less space than ever in fact.
    • 69 Metascore
    • 80 Critic Score
    Brave
    For the animation studio's debut foray into fairytale, Pixar has delivered a rousing family melodrama.
  11. Napping Princess
    It starts feeling fairly mechanised itself, every clank of those boysy Transformer knock-offs further drowning out its wistful heroine.
  12. Old Henry
    Old Henry is a determinedly low-aiming affair.
  13. The Cow Who Sang a Song Into the Future
    While, yes, TCWSSF is a dreamy magical realist fable with an environmental message, Alegría weaves into her tale an emotionally satisfying, gripping family drama, with singing cows – and fish too.
  14. God's Creatures
    It is a tough story, told with conviction.
  15. Only the Animals
    Moll has given us this audacious, witty and absorbing mystery thriller, a tale of adultery and amour fou with a gamey touch of the macabre.
  16. Censor
    With production designer Paulina Rzeszowska and cinematographer Annika Summerson, Bailey-Bond creates something almost unbearably close and oppressive, like the bottom of a murky fish tank. It’s a very elegant and disquieting debut.
  17. Sex
    Sex is earnest, but cerebral and challenging.
  18. Romeo and Juliet
    This has elegance, vigour and charm.
  19. Lion
    Thanks largely to an affecting performance from newcomer Sunny Pawar, the first act is horribly effective.
  20. Amour Fou
    It is a strange, clenched movie: weirdly compelling, with an undertone of absurdity worthy of Woody Allen’s Love and Death.
  21. The Miseducation of Cameron Post
    The film concludes in a minor key, and unresolved: always smart, amusing and engaging.
  22. Rocketman
    Rocketman is an honest, heartfelt tribute to Elton John’s music and his public image. But the man itself eluded it.
  23. Hannah Arendt
    This is a formal and pedagogic production, but worthwhile nonetheless.
    • 69 Metascore
    • 70 Critic Score
    Meantime
    A made-for-TV story of an unemployment-wrecked family in Dalston that brought together fresh faced talents Tim Roth and Gary Oldman. Filled with the deadpan naturalism that became Leigh's signature. But what's most remarkable about it is the showcase it provided for its two new stars, each beginning his career at what was another time of crisis for British cinema.
  25. Monsoon
    It is about a homecoming that isn’t quite a homecoming, a reckoning with something not exactly there, an attempted reconciliation with people and places that can’t really be negotiated with.
  26. Wildhood
    Maybe there is a kind of saintliness in the film which is occasionally difficult to take, but it’s an accomplished, tremendously shot piece of work.
  27. Daddy's Head
    Barfoot taps into liminal terrors more effectively through the visuals, from the gracefully shot fugue states experienced by stepmother and surrogate son, to a sinewy barrelling nightmare-beast that has apparently escaped from a Chris Cunningham video.
  28. Cantona
    One for the fans … but some nostalgic entertainment here.
  29. Evil Dead Rise
    Evil Dead Rise is a decent little splatter movie which contains just about enough to justify the franchise resurrection although perhaps not quite enough to demand that much more of it. For all of its gristle, we’re left very little to chew on.
  30. It
    The problem is that almost everything here looks like route one scary-movie stuff that we have seen before: scary clowns, scary old houses, scary bathrooms. In their differing ways, Brian De Palma and Stanley Kubrick were inspired by the potency of King’s source material to create something virulently distinctive and original. This film’s director, Andy Muschietti, can’t manage quite as much.
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