The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. Nuremberg
    The movie reduces Kelley’s psychiatric insights into soundbites, manages to whittle down the proceedings at the Nuremberg trials into the familiar tropes and cliches from classic courtroom movies, and even lets Crowe’s performance surrender its nuances to hammy villainy, all for the sake of reliable entertainment.
    • 77 Metascore
    • 100 Critic Score
    Left-Handed Girl
    Tsou and Baker’s script sharply examines what it really means to lose face: which shames are noble, which are indulgent, and what should be passed from one generation to the next?
  3. Keeper
    Part of what makes Perkins’ film so refreshing is the way it prioritizes its visceral effect on an audience over a desire to bend that story into a modern relationship parable. As clever as so many contemporary horror movies are, they often write toward theme rather than shooting toward immediacy.
  4. Being Eddie
    Being Eddie, a new Netflix documentary on Eddie Murphy, isn’t his best movie. It isn’t his worst.
  5. Predators
    It’s too soon to know for sure, but this may end up being ranked as one of the best nonfiction films of the year.
  6. Christmas Karma
    This cynically Christmassy movie is leaden, unconvincingly acted and about as welcome as a dead rat in the eggnog.
  7. A Merry Little Ex-Mas
    Silverstone’s easy charisma, and initial lived-in chemistry with Hudson, can’t overcome a script that isn’t witty or involving enough for us to care about another milquetoast Netflix family frantically hugging and grinning to show how close they are.
  8. 100 Meters
    What 100 Meters lacks in narrative subtlety and pacing, it makes up for in dazzling visuals.
  9. The Running Man
    The Running Man sometimes feels retro-futurist and steampunky, though it is always watchable and buoyant. Wright has hit a confident stride.
  10. Dragonfly
    It’s a stark, fierce, wonderfully acted film.
  11. Now You See Me: Now You Don't
    Despite the franchise being nearly old enough for a legacy sequel, there’s a light musicality to its various feats of showmanship that makes it feel like a scrappy upstart. So does the perpetual feeling that it might disappear in a puff of smoke.
  12. In Your Dreams
    This is a little too slight and breezy to really make much of an impression, like a dream you’ll forget as soon as you open your eyes.
  13. Belén
    The film is essentially a legal procedural: solid, mostly entertaining and occasionally gripping.
  14. Train Dreams
    Greg Kwedar has adapted the 2011 novella by Denis Johnson; the director is Clint Bentley, and they have created a lovely looking, deeply felt film, clearly absorbing the influences of Terrence Malick in some of the low camera positions, sunset-hour compositions, narrative voiceovers, and epiphanically revealed glories of the American landscape.
  15. The Choral
    There are moments of creaky comedy and some bluntly emotional dialogue that one can more easily picture in front of a specifically catered-to live audience.
  16. Anemone
    The younger Day-Lewis shows promise as a film-maker – Anemone certainly looks serious, the correct scowls and swirling skies and wordless, eerie montages to suggest weighty themes, big emotions and ominous suspense. The tools to back up that style with emotional punches that land like the real ones of the brothers – best believe they tussle it out, because of course – are not yet refined, but in this father-son duo, at least, I have faith.
  17. Measures for a Funeral
    Fully committed to a radical irresolution, this simultaneously alienating and beautiful film bears repeat viewing.
  18. Predator: Badlands
    The sheer pointlessness of everything that happens subtracts the oxygen and even Fanning’s imperishable star quality can’t save it.
  19. Love+War
    The work is the most important thing and Addario’s speaks for itself.
  20. Relay
    There are some very coolly orchestrated scenes in the big city and Mackenzie ratchets up the tension in style.
  21. The Love That Remains
    The effect is tender, sympathetic, diverting and often very elegant and indirect. But it withholds from us the full, real pain of damaged love.
  22. In Waves and War
    More persuasive is the testimony from the half dozen men we meet, who bravely discuss their pain and distress while the cameras roll.
  23. Palestine 36
    None of these characters quite flares passionately into life but all are persuasively portrayed, and it’s a vehement reminder of what doesn’t get taught in British schools.
  24. Chainsaw Man - The Movie: Reze Arc
    The film’s artistry is undeniable.
  25. Regretting You
    Regretting You seems unsure of its own melodrama, and careens between what should be tear-jerking moments of unfathomable grief and too-cutesy romcom fluff like a teen learning stick-shift.
  26. Stiller & Meara: Nothing Is Lost
    An intriguing, bittersweet family study.
  27. Springsteen: Deliver Me from Nowhere
    The film is a derivative, if well intentioned, piece of fan fiction.
  28. Shelby Oaks
    Even in an oversaturated genre of increasingly diminished returns, Shelby Oaks is about as dispensable as it gets.
  29. Hedda
    It’s an impressive feat of technical film-making, which has now become a hallmark of DaCosta’s work. But she caves to baser impulses in reinterpreting an old and, some might say, crusty play.
  30. The Hand That Rocks the Cradle
    Horror director Michelle Garza Cervera opts for the muted slow-burn (it’s a convincing argument for more studio work) and Winstead gives an earnest performance, the film for the most part existing in a recognisably grounded dramatic universe. But the plotting is often laughably hokey and its flashes of violence so distractingly grotesque that it’s never quite clear how seriously we should be taking any of this, a campy good time masquerading as prestige drama.
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