The Guardian's Scores

Select another publication »
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
view
per page
  1. End of Watch
    Despite the violence and procedural detail, this is about as gritty as Dixon of Dock Green.
  2. Manhunt
    This film offers something that is never in sufficiently plentiful supply: fun.
  3. William Shatner: You Can Call Me Bill
    It’s perhaps less fun than you might have hoped for, though Shatner is undoubtedly charismatic, and a pretty decent raconteur. He’s often entertaining, if not always necessarily in the way he intended.
  4. Smile
    The movie is a shard of comic and cosmic spite, and the image of the malign smile carries force.
  5. Borat Subsequent Moviefilm
    The routine is more familiar and the semi-staged stunts – which faintly undermine the credibility of all but the most spectacular moments – are more conspicuous. But there are still some real laughs and pointed political moments on the subject of antisemitism and online Holocaust denial (though I was disappointed to see the film go along with a dodgy “Karen” gag).
  6. Chopper
    Chopper is a great film.
  7. The Meddler
    The ultimate reason why so much of this works is down to Sarandon herself. She sells the comic side as well as hitting all of the emotional beats.
  8. The Kindergarten Teacher
    One of the most fascinating, if inscrutable films of the year.
  9. Tiger Stripes
    It is possibly a little bit derivative and sometimes seems to be treading water in narrative terms, but only after making us submit to a very woozy and hallucinatory experience.
  10. I Am the Pretty Thing That Lives in the House
    It’s commendable that Perkins seems wholly uninterested in the tropes of the genre: there’s only one jump scare, hardly any gore and no final girl. The elusiveness of the narrative, however, grows weary fast.
  11. Hope
    There is some top-quality entertainment value on offer here from a movie which can only intensify the world’s K-obsession.
  12. Unclenching the Fists
    Aguzarova is quietly phenomenal, never more so than in the sex scene where, holding her curled-up hands away from Tamik’s body, she manages to be coy, conflicted, detached, expectant and amused all at once.
  13. Minyan
    Steel brings a very distinctive kind of control and restraint to his film, both in terms of its subdued colour palette and an emotional language which despite explicit scenes of both sex and homophobic tension and paranoia, has something opaque and elliptical about it.
  14. The Homesman
    Tommy Lee Jones shows some true storytelling grit in this superbly watchable frontier western; he has a muscular and confident command of narrative, driving the plot onward with a real whip-crack, and easily handles the tonal swings between brutal shock, black comedy and sentimentality.
  15. And Then We Danced
    The physicality of this picture is exciting.
  16. Everything Went Fine
    Another type of drama would put the issue-led handwringing at the centre of things. Not this film. It is just the hinge on which the family drama turns, and the performances from Dussollier and Marceau are quietly outstanding.
  17. Thunderbolts*
    Thunderbolts can be messy, sure. Pugh is the kind of star who can thrive in such mess.
  18. Watermark
    It’s not as focused as its predecessor, but its best sequences rehydrate the mind.
  19. Early Man
    It’s impossible not to laugh at the inspired silliness and charm of Park’s universe. Early Man is a family film that doesn’t just provide gags for adults and gags for children: it locates the adult’s inner child and the child’s inner adult. It’s a treat.
  20. The East
    The East – a sleek thriller clogged by its noble message – heads south. It becomes sanctimonious, makes you contrary. I left craving a Big Mac.
  21. In a Violent Nature
    From a horror fan’s point of view, this is an absolutely fascinating experiment with form.
  22. Black Mass
    Scott Cooper’s Black Mass is a big, brash, horribly watchable gangster picture taken from an extraordinary true story and conceived on familiar generic lines.
  23. The Wave
    Even though The Wave is fiction, there comes a point where it ceases to be nail-biting fun and just an exercise in voyeuristic cruelty.
  24. Ping Pong
    Director Hugh Hartford does not patronise his stars, although perhaps there is something too gently celebratory and obviously feelgood about the film. These dynamic table-tennis stars put the rest of us to shame.
  25. Fire in the Blood
    As the indignation rises, the outcome of this battle cannot entirely be guessed, although one closing credit appears to address Big Pharma directly: "Help prevent a sequel."
  26. The Hateful Eight
    Tarantino has created another breathtakingly stylish and clever film, a Jacobean western, intimate yet somehow weirdly colossal, once again releasing his own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale.
  27. The Blackcoat's Daughter
    The frozen landscapes are undeniably gorgeous and the empty school halls are chilling. There are crafty moments here and there, glimpses of the midnight movie that could have been. February’s big villain is precisely what the film is lacking: a devilish spirit.
    • 68 Metascore
    • 60 Critic Score
    Barbara
    Once you settle into your bewilderment, however, Barbara an oddly alluring film that does a double backflip on hokey showbiz-bio convention: not an informative introduction to the singer by any means, but a suitably eccentric evocation of her creative essence.
  29. Treat Me Like Fire
    Monge has created a satisfying drama of doomed obsession, the gambler’s thrill that staves off, for a few moments, a weariness with life. It’s a film with, as they say, something of the night about it.
  30. McKellen: Playing the Part
    McKellen occasionally slips into the part of twinkly super-cool gay uncle that he tends to play in interviews these days. But mostly he’s thoughtful and self-reflective (and not at all gossipy about his theatrical chums, disappointingly).
Page:

Top Trailers

See all »
See all trailers »