The Guardian's Scores

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For 6,561 reviews, this publication has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% 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: 2,484 out of 6561
  2. Mixed: 3,758 out of 6561
  3. Negative: 319 out of 6561
6561 movie reviews
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  1. Neglected
    For all its cack-handedness, there’s some effort here to grapple with issues around institutional and personal guilt and the wrongs done to young people that might turn them into smirking, giggling serial killers … or mass murderers, depending on how you define the term.
  2. Swapped
    The off-brand, bought down the market quality of Skydance animation is initially less of a problem here without the poorly realised humans of Luck and Spellbound to distract but there’s still no immersion or sweep to the world being created, just bright colours which might be enough for some toddlers.
  3. The Devil Wears Prada 2
    This is good-natured, buoyant entertainment. It’s wearing well.
  4. Ultras
    Here is a visually epic and surprisingly positive documentary about a maligned subculture: football ultras.
  5. Primavera
    Opera director Damiano Michieletto makes his underpowered cinema debut here, and the whole film, with its lifeless staging, uninteresting performances and laughably naive ending can only be described as the school of Salieri.
  6. Brute 1976
    Amid this farrago, the political critique comes over more like accidental backspatter than meaningful statement.
  7. The Sheep Detectives
    The film scoots smartly past the death and brings us briskly on to the entertaining business of sheep-oriented crime detection. It’s all very silly, although, as with Babe, I have to confess to agnosticism about digital talking animals, even if the technology here is next-level. It’s an entertaining tale of ovine law enforcement.
  8. Agon
    It’s a kind of Martian’s-eye-view documentary about something that doesn’t actually exist; it is ice-cold and detached, almost without dialogue in the conventionally dramatic sense, other than the subdued exchanges which we, as audience, overhear rather than listen to. It accumulates its own kind of desolate force.
  9. Apex
    The whole affair feels slick but soulless, with no personality or – despite the lush settings – any real sense of place.
  10. Exit 8
    This is an elegant, chilly dream of despair.
  11. Michael
    Antoine Fuqua’s demi-biopic of Michael Jackson gives you the chimp, the llama, the giraffe … but not the elephant in the living room. It’s like a 127-minute trailer montage assembling every music-movie cliche you can think of: the producers’ astonishment in the recording studio, the tour bus, the billboard chart ascent, the meeting with the uncool corporate execs in their offices.
  12. Broken Bird
    With an unerring but sardonic sense of how death presses in on us all, this is a promisingly pungent debut from Mitchell.
  13. Roommates
    Roommates might not rival the fizzy, formative teen films it both references (Clueless) and often directly cribs from (Mean Girls) but it still belongs in a different league to what we’re mostly served right now. Could someone possibly tell that to Netflix?
  14. The Plague
    This is a memorable education in the laws of the tween jungle.
  15. Couture
    As this film’s producer-star, Angelina Jolie shows honesty and courage in tackling a story that so closely mirrors her own experience of having a double mastectomy to prevent breast cancer. But sadly, the film itself feels specious and shallow, insisting with bland and weirdly humourless confidence on the glamorous importance of the fashion world in which it is set.
  16. Colours of Time
    For all that this film is about the revolutionary and disruptive business of art, it takes a pretty un-subversive view of art and artists, compatible with the museum gift shop. But I have to admit, it’s executed with brio and comic gusto – the “past” sections, anyway – and Lindon’s performance has charm.
  17. Balls Up
    Balls Up is juvenile entertainment, handled by professionals.
  18. Miroirs No. 3
    It is highly diverting, elegantly contrived study of an unhappy family group and the cuckoo in its nest.
  19. Blades of the Guardians
    Blades of the Guardians offers a duly impressive spectacle, chock-full of epic set-pieces that lean more on physical effects than CGI, and of course lashings of exquisitely choreographed fight scenes mostly using – as the title suggests – swords.
  20. Rebuilding
    It is another highly sympathetic performance from O’Connor, who converts the British reticence of his earlier roles into Dusty’s strength and quiet vulnerability.
  21. Endless Cookie
    There are serious points raised with wry obliqueness here: about police racism, land theft and, more positively, ancestral continuity. (Perhaps to keep the indigenous focus, Endless Cookie skirts the issue of Seth as a white chronicler.) But it’s also equal parts hallucinations in coffee froth of rutting caribous – and a palpably radiating love for community – in this often hilarious spawn of the likes of Fritz the Cat
  22. The Blue Trail
    The Blue Trail is a generic mashup: it partly has the bittersweet tone of many films about defiant old people, and partly it has something far more subversive and disquieting. The mix of tones is interesting, like chewing cake and cheese at the same time.
  23. Lee Cronin's The Mummy
    Cronin, an Irish film-maker who has made just two films to date (The Hole in the Ground and Evil Dead Rise), is an undeniable visual talent but his Mummy is also absurdly, watch-checkingly overlong (134 minutes is an unacceptable length for a genre film as thin as this), tonally unsure and, fatally, not all that scary. It’s also, for something so clearly attributed to just one person, a film so deeply influenced by the work of many, many others. It might not feel like a Mummy movie you’ve seen before but it’ll feel like a great deal else.
  24. The Cure
    It’s hard to outline what makes this work interesting without spoiling it, but let’s just say that as a satire it has helicopter parenting, sinister medical innovation to extend lifespan, and our obsession with youth and beauty in its sights. It’s a shame the final chapters don’t quite coalesce these fertile themes in more satisfactory fashion, and the film just ties everything up with some cursory violence.
    • 58 Metascore
    • 40 Critic Score
    Mother Mary
    Lowery’s film can dazzle. But to quote one of the director’s clear references, many will spot his inspirations all too well.
  26. Thrash
    We should be on the edge of our seat but every should-be set piece falls flat, the choreography always feeling a little off and the editing never works as tightly as it should.
  27. Outcome
    It might perhaps have been more ruthless. The movie ends on a bit of a flat note too, with personal growth where you might have hoped for a murder, or at the very least a public humiliation. Still the performances are unfailingly entertaining.
  28. You, Me & Tuscany
    You, Me & Tuscany is a perfectly wholesome and harmless meet-cute that starts by asking: “What if the Little Mermaid had a Lady and the Tramp-style hookup with the season one heart-throb from Bridgerton, spaghetti and all?”
  29. Dracula
    It sometimes seems as if each Jude film is almost to be viewed once only; if you press play again, or go to the cinema to see it a second time, there will be only a blank screen, as if Jude and his ragged company have folded their tents and vanished.
  30. The Stranger
    François Ozon’s lustrously beautiful and superbly realised monochrome version of Albert Camus’s novella L’Etranger has an almost supernaturally detailed sense of period and place. It amounts to a passionate act of ancestor worship in honour of a renowned French artwork, though by making changes that bring a contemporary perspective on the book’s themes of empire and race – changes that include a critique of the original text – this adaptation perhaps loses some of its source material’s brutal, heartless power and arguably some of the title’s meaning.
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