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. Mass
    It’s an airless chamber piece, a self-assured gamble that pays off almost instantaneously thanks to the four impeccable performances at its centre, each parent processing, intellectualising and vocalising their anguish in different ways.
  2. Land
    There’s just not enough here to make it a worthwhile retread through familiar territory, proof of Wright’s basic competency as a director but nothing more.
  3. Flee
    Flee is a remarkably humanising and complex film, expanding and expounding the kind of story that’s too easily simplified.
  4. In the Same Breath
    Business as usual has largely resumed in Wuhan, but Wang’s film contends that that’s just the problem. The same apparatuses of messaging and censorship are still in operation, ensuring that the full extent of the malfeasance may never be fully known
  5. In the Earth
    In a flawed yet fierce return to form, Ben Wheatley has crafted a phantasmagoric treat with In the Earth, an ambitious, atmospheric little woodland horror.
  6. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    The lack of awareness of this event is another tragic example of black history being ignored. Only this time the record survived, and now we all get to share in it.
  7. CODA
    Coda is a mostly likable concoction, but one that’s just too formulaic and ultimately rather calculated to secure the emotional response it so desperately wants by the big finale.
  8. 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.
  9. The Queen of Black Magic
    Ultimately it is all a bit repetitive, derivative (particularly of other Asian horror pics) and somewhat sleep-inducing.
  10. The Road to Mandalay
    Compassionate and honestly told, it is a real empathy machine of a movie.
  11. True Mothers
    There is a sustained emotional seriousness in this movie, with committed performances.
  12. Let It Snow
    In all honesty, the path towards the film’s final feeble twist is as discernible as a neon pink jacket on the ski slopes. But Let It Snow is well put together, from the spectacular location work to the strong use of sound to the sort of arresting imagery that recalls the haute body horror of Midsommar.
  13. Tuscaloosa
    Dyer’s intelligent and sensitive performance does wonders for a character who, on the page, looks like a male fantasy: a cool-girl psychiatric case, fun-loving, free-spirited and up for anything.
  14. Robin's Wish
    Robin’s Wish is not a wide-ranging documentary about Williams’s life. It only briefly sketches in his career, from early ambitions of serious acting at the Juilliard drama school in New York to standup stardom (“he drained every scintilla of laughter out of the crowd”) and Hollywood.
  15. Assassins
    What an extraordinary story of sexism, violence, diplomatic bad faith and dishonesty on an international scale.
  16. A Ghost Waits
    Chock full of delightful narrative surprises, imaginative genre tweaks, and warming performances from its two leads, this low-budget romcom-horror story is worth seeking out.
  17. The Dry
    Director Robert Connolly’s adaptation is a very gripping and polished film, commandingly performed and directed, with an airtight sense of tonal cohesiveness – despite lots of, well, air in the frame, derived from countless mid- and long-shots capturing barren exterior locations in a fictitious Australian outback town.
  18. Quo Vadis, Aida?
    There’s a real tragic power in this almost unbearably brutal and shocking movie from writer-director Jasmila Žbanić.
  19. The Little Things
    It’s a film trapped between a low- and a highbrow version of a story we know all too well, landing firmly in the middle of the road.
  20. Beginning
    Kulumbegashvili’s style is confident, if derivative. Her technique now has to evolve away from these self-conscious influences.
  21. Synchronic
    Synchronic is frankly just silly and tedious, with faintly absurd and jeopardy-free time-travel scenes and a dramatic focus hopelessly split between Dennis and Steve’s separate but equally tiresome lives.
  22. Palmer
    Within the first 15 or so minutes of Apple TV+’s Palmer, something clicks in, a feeling of overwhelming familiarity, an inner voice quietly realising, “Ohhh, it’s that movie.”
  23. Malcolm & Marie
    At its worst, it feels like an insufferable vanity project. But it’s pugnaciously well-acted, flavoured with vinegary insights and rage-filled denunciations, and a hilarious set piece of scorn about how awful film critics are.
  24. Penguin Bloom
    It’s a handsomely made and sturdy little movie, mercifully devoid of cloying sentimentality, an old-fashioned throwback for families in search of something safe and superhero-free that might not sing quite as loud as it could have but flies just about high enough nonetheless.
  25. The Rental
    It’s pretty basic boilerplate, scary-movie stuff, with tropes and tricks that have already been extensively satirised elsewhere.
  26. Baby Done
    Baby Done is funny; it’s sweet; it means something. Most of all it’s charming.
  27. 12 Hour Shift
    It’s a throwaway film that perhaps I shouldn’t have enjoyed as much as I did, but Mandy is such a deliciously sour character.
  28. Music
    The autistic characters feel more like dramatic tools to improve the circumstances of neurotypical people, rather than fully-fledged humans who think, feel and act on their own terms.
  29. Love Sarah
    There’s nothing to fault in the performances, but the characters are filo pastry thin and slightly bland-tasting – like less complicated, less interesting versions of actual people.
  30. Blithe Spirit
    Despite the heavyweight cast, the film’s production values are those of a kids’ TV show that might go out on a weekday afternoon.
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