The Guardian's Scores

For 6,554 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:
6554 movie reviews
  1. There are no left turns or bumps along the way, just a smooth straightforward journey from cliche to cliche, boredom setting in fast.
  2. It’s an intimate portrait that at times borders on meandering but it remains free of judgment throughout, with Einhorn and Davis using their background as journalists to let the story happen without coercion or commentary.
  3. Amstell creates a detailed ecosystem of in-jokes from the worlds of media and film, and from that cynical context he conjures a miraculously heartfelt love story, sweet and poignant in all its awkwardness.
  4. The stranger-than-fiction weirdness and emotional dysfunction are what’s interesting here, and the film doesn’t quite take the lid off it.
  5. This bizarre and sometimes scary film from Iceland has a way of keeping you off balance and on the edge of your seat.
  6. Not much about this film is original, but the buddy-pairing of two equally competent criminals is something we haven’t seen too often.
  7. For all its rough edges, there’s a pure-hearted passion for movie-making evident here, that’s often awol in slicker productions.
  8. This documentary is a bit reticent on the subject of racism. It’s not a subject that Trejo addresses, other than to say that cops who used to pull him over now do so to get selfies. Yet it’s an amazing true-life success story.
  9. Fundamental to Relic’s psychological oomph are three excellent performances, perfectly complementing that sticky-icky ambience.
  10. A very absorbing and valuable documentary about the creation of this artwork, which relates to Ai’s honourable record of using art as memorialist-activism.
  11. It’s a goofy, drunken scrap of escapism and while the romantic comedy is not fully back, despite think pieces assuring us that it is, Palm Springs energetically reminds us, yet again, that it’s never really going away.
  12. Like the structure at its centre, Spaceship Earth is a smart concept that never really takes off.
  13. It sleepily hits the beats we expect but without the emotion or passion required to make them land, a by-the-numbers exercise from someone with barely enough energy to count.
  14. As well as death and tragedy, war is full of absurdity, indignity, chaos, all sorts of bizarre and embarrassing things that don’t get mentioned in the official record. Greyhound is content with its keynote of sombre reverence.
  15. The adjective in the title is right. It gets old pretty quickly.
  16. This is a fan-servicing but not necessarily hagiographic documentary.
  17. It’s imperfect, sometimes frustratingly so, but also just about fun enough for yet another tipsy Friday night locked down indoors, its sun-drenched setting proving alluring and yet cruelly out of reach.
  18. The characters are paper-thin and, even on paper, their motivations don’t make much sense.
    • 85 Metascore
    • 90 Critic Score
    The inspired calculation of action and agonised human reaction is irresistible and inescapable. It is a film that leaves the audience shattered and exhausted.
    • 88 Metascore
    • 100 Critic Score
    It keeps all the power of a live performance while simultaneously adding a filmic pizzazz including some breathtaking aerial shots. There is extraordinary direction – again under Kail – so that the cameras capture the mise en scène of theatre without losing any of the closeup intimacy of film.
  19. Homemade is a diverting but indulgent collection, and the experiences of genuine hardship don’t shine through very much.
  20. It is 80 minutes of pure woodwork-musicianship-upcycling erotica for a very specialist but passionate market.
  21. The film is forthright and intelligent on the difficulties and complexities involved in the discussion.
  22. The interest of this garrulous, convivial documentary creeps up on you by degrees.
  23. Clearly marketed as inoffensive feel-good pap, I didn’t go into the film expecting a nuanced commentary on the racing industry. But nor did I expect what often felt like a thinly veiled 98-minute advertisement, interspersed with occasional moments of warmth and humanity.
  24. The movie is not a disaster, just weirdly pointless.
  25. The supposed satirical attitude of Irresistible can’t conceal the fact that it’s contrived, unfunny and redundant.
  26. It’s a brazen celebration of Jackson, which unlike Lee’s other documentary work doesn’t look under the hood to tell the whole story and examine some of the more uncomfortable inner workings.
  27. Lee wants to clear away the tabloid smoke and spite, and bring the focus back to Jackson's professionalism, his craftsmanship, his artistry and his pop genius; the movie defiantly insists that Jackson was and is superior to his detractors.
  28. We all share universals like hurt and hope, it’s just that their expression differs for McConnell. Like the act of childbirth itself, something that has happened trillions of times and yet always feels intimately personal, he’s one of us and one of a kind.

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