The Guardian's Scores

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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:
  1. Positive: 2,481 out of 6554
  2. Mixed: 3,754 out of 6554
  3. Negative: 319 out of 6554
6554 movie reviews
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  1. Intuition
    What propels us past the cliches of Intuition is a desire to see just how it all ties together, an assumption that a story as busily plotted as this must have an ace up its sleeve. But the last act is all fizzle, played out predictably with a mundanity that no amount of sweeping aerial shots can disguise.
  2. The Dalai Lama: Scientist
    If you’re looking for a definitive Dalai Lama documentary, this narrow-focus film about his lifelong passion for science probably won’t cut it.
  3. Body Cam
    While it’s far from the firestarter it could have been, there’s more to this than its release would suggest, an angry, slickly directed thriller that still manages to generate enough of a spark.
  4. To the Stars
    The period trappings – which must have cost a bomb – are lush and smartly deployed without being heavy-handed, and the two young leads are very watchable.
  5. The Last Full Measure
    Here’s a true story about a young soldier’s exceptional bravery and sacrifice made into a pretty average war movie, insubstantial and TV-ish despite the appearance of some decorated Hollywood veterans.
  6. Screened Out
    If you’re a parent whose screen-time rules have crumbled in lockdown, under no circumstances watch this film until normal service resumes.
  7. Villain
    Sometimes a seemingly unprepossessing genre film comes along that has finer qualities than you would expect. Such is the case here.
  8. Take Me Somewhere Nice
    It’s an amusing and diverting film that, with a series of ellipses and jumps, finally takes us to an unexpected world of fear and grief – and then back again, to stylised unseriousness. An engaging debut, which Sendijarević will follow up with more substance to go with the style.
    • 57 Metascore
    • 40 Critic Score
    Kate Nash: Underestimate the Girl
    At times it really does feel a lot more like an SD card dump than an exercise in storytelling.
  10. The Lovebirds
    Nanijani and Rae work well together, although “chemistry” is perhaps a stretch.
  11. Wake in Fright (1971)
    It comes from the age of Straw Dogs and A Clockwork Orange, but none of those movies can match the sheer hardcore shock of the Australian New Wave nightmare Wake in Fright from 1971.
  12. Scoob!
    While a younger audience might be enthralled by the fast pace and bright colour palette, those understandably curious adults sitting nearby will find themselves watching in horror, a deep, sorrowful howl emerging.
  13. Proximity
    This dorky, silly sci-fi feature offers a weird blend of high-grade craftsmanship (especially from the visual effects, cinematography and music departments), and guileless ineptitude, especially in the crucial realms of screenwriting, acting and editing.
  14. Capone
    It’s an interesting film, which Trank tops off with a contrived finale of bizarre, spectacular (and contrived) violence, yet the woozy slipping-into-dementia-fantasy sequences, although striking, mean sometimes that the visual impact of what we are seeing is sometimes lessened, as we wait to see if it is really happening or not.
  15. DAU. Degeneration
    It is commonplace to say that some films are scary and mad. But this really is scary and mad.
  16. Enemy Lines
    The story has the makings of a gripping adventure, but something is lacking.
  17. The Wretched
    The narrative focus is frustratingly split between Ben’s family and Abbie’s, and the result is a non-frightening muddle.
  18. Never Rarely Sometimes Always
    The film’s spareness has lasting power – as Skylar and Autumn boarded the bus home, I realized I had been clenching my jaw the whole movie. It’s a testament to Hittman’s portrayal of fear and frustration in navigating American reproductive healthcare as a teen. I just wish her characters had more to say about it.
  19. Blue Story
    Onwubolu avoids the usual flash and posturing in favour of a careful, rooted storytelling, finding subtly different perspectives on gang life, and offering his characters as many ways out as there are ways in.
  20. Becoming
    This is Obama’s own film, so we can’t expect any tough scrutiny.
  21. Diana Kennedy: Nothing Fancy
    I would have loved to hear Kennedy on the tricky subjects of fusion cuisine or cultural appropriation. But there’s more than enough here to get your teeth into.
  22. Ema
    It’s a study in anger and emotional hurt that feels like a work in progress, an unfinished script the director has put before the camera before its complete development. Yet it is absorbing and challenging, as everything from this film-maker always is.
  23. All Day and a Night
    All Day and a Night is a weightier alternative to the average Netflix original and while imperfectly realised and scrappily plotted at times, it’s another promising sign that, away from the easy-to-digest content, there’s room on the platform for much much more.
  24. Dangerous Lies
    It’s pacy enough to secure at least our divided attention, competently trotting along in the background revealing surprises that aren’t really that surprising, like a pulpy, well-worn airplane novel that you guiltily devour in a day.
  25. The Half of It
    The Half of It is a strong, warm-hearted and quietly progressive addition to the expanding Netflix teen movie pack which treats its target audience with the respect they deserve.
  26. Blood Quantum
    Barnaby’s colonialist take on the formula is far from subtle, and at times a little too bluntly on the nose, but he’s a film-maker with both something to say and the skillset to say it in a distinctive way, offering up an initially engaging alternative to mere guts and shock tactics.
  27. The Plagues of Breslau
    Offering a set-piece every 10 minutes, a twist every 30, it’s pure pulp, but Vega knows how to sell it, and there are pearls of wisdom amid the nastiness. You’ll flinch, you’ll squirm, you’ll learn how to increase your survival chances should you be doused in gasoline and set alight.
  28. Rising High
    The film’s plausibility-level isn’t perhaps as high as all that (it really works best as a period piece from the pre-2008 crash) but Kross brings to it a jaded, corrupted glamour.
  29. Extraction
    Extraction is a little bit hokey and absurd, and the very end has an exasperating cop-out – but it has to be admitted that, in terms of pure action octane, Russo and Hargrave bring the noise.
  30. Robert the Bruce
    It takes a good hour or so to get going, but then it builds up some watchable spectacle – although Gray goes way overboard with the moody, fireside lighting, and the rousing orchestral score gets all ceilidh-cutesy for the happy montages.
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