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. Supernova
    Lovely, heartfelt performances from Stanley Tucci and Colin Firth carry this intimate movie.
  2. Enola Holmes
    It all rattles along amiably enough.
  3. On the Rocks
    There are some cheerfully amusing moments . . . . But really the banter and the elegance needs some substance in the script and it really isn’t here, or not enough of it, and the serious moments seem glazed in a kind of negligent unseriousness.
  4. Joe Bell
    Good Joe Bell is a generous film about an outsider travelling across the country realising the importance of listening and learning from others (as well as his own guilty conscience).
  5. 76 Days
    76 Days is not a hard-hitting documentary about the centre of the Covid-19 pandemic – maybe such a film will be slower to arrive than the vaccine – but it’s a potent human-interest story, and a portrait of a city under siege.
  6. Monday
    All of this film’s various moods – erotic, euphoric, tragic – are unearned and despite what is clearly strenuous effort from the performers themselves, the acting is hammy and undirected.
  7. Small Axe: Lovers Rock
    McQueen’s compositional sense is a marvel; the movie’s period and location is evoked with masterly skill, and the romance is wonderful. What a cure for lockdown depression.
  8. Residue
    Residue is a fleeting and haunting lament for what is lost to gentrification, and other tolls on black life in America. But at the same, it’s exhilarating and monumental, laced with the sensation that we’re discovering a bold and sensitive new voice.
  9. H is for Happiness
    There is much to appreciate in this film; much to like. You don’t just watch it in big bright colours; you remember it in big bright colours too.
  10. I Am Greta
    Despite being a valuable reminder of Thunberg’s idealism and unselfconscious courage, the film doesn’t entirely work.
  11. The Eight Hundred
    With so much intense focus lavished on the action, there’s none to spare for the characters’ emotional lives, and it’s hard to care much about who lives or dies.
  12. The Devil All the Time
    There is something weirdly pointless about it all, and there is a kind of tonal gap where, in another kind of film, the humour might go – which would counterweight the nasty violence. But it sure does pack a punch.
  13. The Truffle Hunters
    A strange, funny, mysterious and rather beautiful film about an activity that’s recherché to say the least.
  14. 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.
  15. Mandibles
    Mandibules is a rollicking, rambunctious tequila-dream of a movie.
  16. Limbo
    What a thoroughly wonderful sophomore feature from the British director Ben Sharrock – witty, poignant, marvellously composed and shot, moving and even weirdly gripping.
  17. Bill & Ted Face the Music
    It’s amiably amusing, and Bill and Ted’s Peter Pannish inability to accept the ageing process is enjoyably surreal, with a weird tinge of not-entirely-intentional tragedy.
  18. Concrete Cowboy
    This is an old-fashioned father-son story and none the worse for that, but there is something a little slick and subdued about the way the story is resolved.
  19. I Care a Lot
    Pike is astonishingly good, tearing into her role with the same icy menace that made her Oscar-nominated performance in Gone Girl so indelible and like the script she’s working from, there’s such restraint with her venom that it makes her all the more terrifying.
  20. Hopper/Welles
    The restored footage is an intriguing relic – an offcut, raw copy. There’s something pleasingly voyeuristic about the experience of being allowed behind the velvet rope to watch these blusterers hold forth, although I expect their charms may be limited to die-hard devotees.
  21. Final Account
    Explicitly, his film shows how a hundred shades of grey combine to make a darkness. Implicitly, it warns that it could well happen again.
  22. Another Round
    The performances are persuasive and watchable, especially Mikkelsen, the guys’ alpha-leader, who ruinously makes being drunk look pretty acceptable until it is too late.
  23. Cuties
    The film and its accusers turn out to be on the same side: Mignonnes attacks the pornification of girls and young women by social media and society in general; it is about the false promise of liberation in this kind of sexualised display. The offending scenes are gruesomely unwatchable – deliberately so.
  24. The Duke
    What a lovely, rousing, finally moving film this is.
  25. Apples
    What prevents Apples from becoming a simple Lanthimos copycat is its comparative kindness and its abiding direction of travel.
  26. And Tomorrow the Entire World
    The tale drifts and falters when I wished it would have hit home with more conviction, but that may be partly the point. The struggle is endless, unwinnable. Everybody is compromised.
  27. The World to Come
    The World to Come is a ravishingly beautiful love story set in 1850s America, with painterly visuals that nod to the work of Winslow Homer and John Singer Sargent.
  28. The Roads Not Taken
    Sally Potter’s The Roads Not Taken is a sad, painful, self-conscious vignette of a film with forthright performances; it’s a chamber piece in many ways, but with bold flashback excursions that come close to causing its emotional engine to overheat.
  29. The Painted Bird
    The Painted Bird is a brutal kind of ordeal, but eerie, unearthly and even beautiful sometimes: a bad dream that leaks into waking reality.
  30. Summer of 85
    Unlike the woozy love at its centre, Summer of 85 doesn’t haunt in the way that it should. It fades when it should burn.
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