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. Kajillionaire
    I have taken some time to acclimatise to her distinctive, affectlessly sentimental film-making, but it is growing on me, and Kajillionaire is intriguing.
  2. I Am Woman
    It is a lean and likeable, if slight and a little trite, celebration of the legendary Australian-American singer, feminist and anthem-creator Helen Reddy, shot with a rich neo-noirish texture by Oscar-winning cinematographer Dion Beebe.
  3. The War with Grandpa
    It’s a very minor victory to report that rather than being bad, it’s merely bland, an adequate milquetoast time-waster for a very young and very undiscerning audience.
  4. South Terminal
    An intriguing, somewhat abstract drama about a country descending into chaos.
  5. Beyond The Visible: Hilma af Klint
    This documentary makes a pretty convincing case for the admission of the Swedish artist Hilma af Klint into the boys’ club of abstract art, alongside Kandinsky, Mondrian et al.
  6. Saint Maud
    The film punches out its warped drama with amazing gusto and Clark is lethally assured: not Saint Maud really, but Saint Joan, a spectacular horror heroine.
  7. Dirt Music
    Dirt Music eventually arrives at a deep, thought-provoking moment – but it takes the entire film to get there.
  8. Totally Under Control
    All said, there are less educational ways to raise your blood pressure for two hours, and the masochistic Twitter-refreshers nourishing themselves with a steady drip of maddening headlines will have plenty to fume over. Starting with the sniggering title, this torturous rehashing of yesterday’s history all seems to be for them.
  9. Cats & Dogs 3: Paws Unite
    Given how much CGI has come along since 2010, you’d expect a more convincing presentation of moving animals’ lips and eye muscles mimicking human expressions, but clearly the budget didn’t reach much beyond the tea budget for Tenet.
  10. Spontaneous
    This debut feature from writer-director Brian Duffield (best known for his screenplays for Underwater, The Babysitter and Jane Got a Gun) has plenty of gallows humour to leaven the gore and tragedy, and plenty of subtexts swimming under the surface like glittering, metaphorical koi.
  11. David Attenborough: A Life on Our Planet
    It is a personal film – and political, too. There is emotion and urgency in that familiar soothing voice.
  12. Black Box
    Without any real stylisation to shake up Nolan’s inner realities beyond bog-standard techno-realism, this sunken place has no strong signature of its own – and little to add to the African American experience.
  13. The Lie
    Sud – with plenty of inexorable tracking shots through the family’s chilly condo – efficiently tightens the screw as the twitchy mother and indulgent father first bicker, then are doomed together by their blood allegiances.
  14. Small Axe: Red, White and Blue
    Boyega carries the film with a compelling authority of his own.
  15. The Forty-Year-Old Version
    This is a very unhurried film (I wondered if it might have been better to lose 20 or so minutes) but it has a distinctive language of its own, and a feel for the city.
  16. Dick Johnson Is Dead
    It all builds up to a remarkable coup de cinéma: a Buñuelian finale that is startling and moving. This is both an exploratory personal project and a thought-experiment of a film.
  17. Eternal Beauty
    This is substantial and rewarding.
  18. Rocks
    This film is such a rush of vitality. It rocks.
  19. The Glorias
    Another film might have mined Steinem’s remarkable life for its complications and contradictions, but The Glorias settles for slapdash iconography.
  20. Scare Me
    It works for the most part because of Ruben and Cash and the spiky chemistry they share.
  21. Tesla
    To watch Tesla the film is to admire its ambition while regretting its follies. Much like Tesla the man, perhaps?
  22. Miss Juneteenth
    For anyone who values diverse storytelling, Peoples’ portrait of a hardworking woman on the up is a tale of hopefulness – and a reason to hope in itself.
  23. Capital in the Twenty-First Century
    Justin Pemberton’s documentary, based on the bestselling book by French economist Thomas Piketty, tells us a story no less depressing or gruesomely hypnotic for being so familiar – like observing a slo-mo driverless car crash from the passenger seat.
  24. Small Axe: Mangrove
    As with McQueen’s previously premiered Small Axe film, Lovers Rock, there is real fervour and real meaning here: it is film-making with visceral commitment and muscular storytelling.
  25. The Boys in the Band
    It is all unexpectedly potent, particularly in the absurdity and petulance and pain that Parsons crams into his performance. It’s a strange, compelling dose of unhappiness.
  26. Misbehaviour
    If there is a tonal uncertainty in this comedy, then that’s because there was a tonal uncertainty in the real-life events, and the movie nicely conveys how they were at one and the same time deadly serious and Pythonically silly.
  27. Bird Island
    Slow paced and deploying minimal sound – apart from gentle bursts of voiceover and the sound of wings and planes taking off – this Swiss-set quasi-documentary about a bird sanctuary is relaxing to watch, like one of those machines that plays the sound of waves breaking to help you fall asleep.
  28. The Trial of the Chicago 7
    He [Sorkin] can also become fantastically ponderous, bloated with finger-waggingly self-important liberal patriotism. Sadly, that is the tone with this exasperatingly dull, dramatically inert and faintly misjudged re-creation of the “Chicago Seven” trial in the US, which Sorkin has written and directed.
  29. Becky
    Becky’s crazed kills get more and more gimmicky, and there’s nothing in the script to indicate what has turned her into a pint-sized death-dealer.
  30. Rifkin's Festival
    By Allen’s lamentable recent standards, this fitfully entertaining film could be called adventurous, while the reliably cranky Shawn and a stately, vampish Gershon are clearly having a good time and letting us in on it.
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