The Guardian's Scores

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For 6,601 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: 2,500 out of 6601
  2. Mixed: 3,782 out of 6601
  3. Negative: 319 out of 6601
6601 movie reviews
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  1. He Named Me Malala
    Guggenheim largely dodges lodging her story within a greater political context; a choice, but a shame, for when he does, the movie gains tension.
  2. The Fate of the Furious
    This is a big dumb action movie in its purest, most honourable sense: fast, furious and frequently fun.
  3. The Lobster
    It’s an adventure which begins by being bizarre and hilarious but appears to run out of ideas at its mid-way point, and run out of interest in what had at first seemed to be its central comic image: humans turning into animals.
  4. Love
    It’s hardcore, yet much softer-core than Noé’s earlier movies, without the terrifying shock factor of Irréversible and Seul Contre Tous, and without the visual brilliance of Enter the Void, and Love is preposterous and badly acted and talky in a way that porn films haven’t been since they were designed to be shown in cinemas.
  5. Barbershop: The Next Cut
    Barbershop: The Next Cut is hardly subtle, but it is more nuanced than you might expect.
  6. Piku
    Star power aside, it’s a modest, reined-in entertainment, rejecting musical numbers for a simple whistled refrain, and clocking in at just two hours.
  7. By the Sea
    By the Sea’s uncompromising nature is its most admirable asset. It’s a vanity project that’s difficult to love, but alluring to unpack.
  8. In the Shadow of Women
    Garrel struggles to unearth anything new. The mechanics of the relationships on show fail to lead anywhere unexpected while the dialogue is often flat and on-the-nose.
  9. Disorder
    Winocour’s ability to build suspense is solid but she’s less confident when it comes to following through. She toys with perversity but sticks to formula.
  10. One Floor Below
    This is detached, flat film-making at its most bare. You figure out which lines of dialogue deserve to be underlined.
  11. A Tale of Love and Darkness
    Portman has made a film with something serious and interesting to say about Israel, a nuanced portrait of the place that demonstrates a commitment to, and connection with, her home country. This is an assured, heartfelt debut.
  12. A Perfect Day
    Inconsistency is A Perfect Day’s biggest problem. The script is scalpel sharp in some places, flabby as the well-blocker in others.
  13. Popstar: Never Stop Never Stopping
    There are laughs found in almost every scene, though not many big ones. There’s also the problem that no amount of parody can top the real thing.
  14. The Little Prince
    This is a very good-looking film that represents a brave attempt to do justice to a very popular book; it manages it, just.
    • 82 Metascore
    • 60 Critic Score
    Rams
    Rams is as curiously captivating as the bleak landscape in which the two protagonists site themselves.
  16. Cartel Land
    There’s no doubting Heineman and his crew’s audacity as they venture close to the line of fire, but the commitment to observing dispassionately at all times starts to feel a bit like a cop-out.
  17. Any Body Can Dance 2
    ABCD2 is the latest film to recognise that – however you gender your gaze – there is an abiding pleasure in watching bodies in motion, and choreographer-turned-director Remo d’Souza keeps nudging more of them on.
  18. The New Girlfriend
    The tone wavers between psychological thriller and absurdist melodrama, and perhaps suffers for not settling on either, but it’s grounded by two terrific leads.
  19. Station to Station
    The artists’ blathering about the creative process and the nature of existence gets monotonous. It’s the ordinary folk that keep the film on-track.
  20. Partisan
    You’re never sure what the characters are capable of achieving and the bottled-up energy that comes out of that feeling runs throughout.
  21. Our Brand Is Crisis
    The film is in need of an edge that Peter Straughan’s screenplay fails to deliver.... Yet Sandra Bullock seems blissfully unaware of the film’s faults and delivers a performance that expertly plays on her strengths.
  22. The Seventh Dwarf
    The script balances kiddie-friendly winsomeness and knowing winks for grownups, and is more tightly constructed than you’d expect, with even fleeting throwaway gags delivering plot payoffs later on.
  23. A Brilliant Young Mind
    This is an attractively unparochial drama with a bracing interest in excellence.
  24. Spotlight
    Spotlight never hits the heights of passion, but capably and decently tells an important story.
  25. Truth
    As high-class cheese goes, Truth slips down fine. It’s a noisy, one-note rally for the converted that gets your pulse racing even if you’re rolling your eyes.
  26. Money Monster
    This is no masterpiece, but it’s amiable slice of popcorn entertainment.
  27. Ready Player One
    It’s a film in which Spielberg’s traditional reverence for the wonder and idealism of youth has had to compromise with wised-up survivalist toughness of the new YA mode. But what extraordinary visuals this films conjures up, with images that appear and disappear like quicksilver memes.
  28. Jumanji: Welcome to the Jungle
    It’s a likeable film which borrows liberally from everything and everyone, and if it’s put together by numbers, well, then it is done capably enough.
  29. Bad Boys for Life
    While Bad Boys for Life has a completely asinine story, generic action, predictable plot beats, moronic dialogue and truly reprehensible politics, I still had a good time.
  30. Barbie
    It’s entertaining and amiable, but with a softcore pulling of punches: lightly ironised, celebratory nostalgia for a toy that still exists right now.
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