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. My Salinger Year
    [A] bafflingly insipid, zestless, derivative film.
  2. End of the Century
    It balances what is with what might have been and what could still be, and, although the result is maybe a bit less substantial than Castro intended, there is a certain literary elegance in the way he sketches it out.
  3. The Assistant
    It is a sombre, realist study of what day-by-day, moment-by-moment abuse actually looks like.
  4. Vivarium
    Vivarium is a lab-rat experiment of a film, with flat, facetious humour and a single insidious joke maintained and developed with monomaniacal intensity. In its way, this film is an emblem of postnatal depression and simple loneliness.
  5. My Hero Academia: Heroes Rising
    All the exertion – fleshed out in visuals that veer from Astro Boy-aping cutesiness to interestingly rough closeups, as if the animation itself is fraying in the heat of battle – pays diminishing dividends. The panoply of powers begin to seem interchangeable, the character arcs dim.
  6. The Invisible Man
    There’s fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion. But Whannell gives us just enough to make us want more and despite the stretched 125-minute runtime, he can’t quite deliver what he loosely promises.
  7. Swift
    Virtually laugh-free, so-so looking with a seriously drippy musical number, it feels like a film slipped into cinemas over summer to sucker parents desperate to do something, anything, to fill a couple of hours.
  8. First Cow
    It is a tremendously engaging story which does something that very few movies do: mention money. Something very palpable is at stake, the jeopardy is real and it’s a question of survival.
  9. Brahms: The Boy II
    It’s so punishingly dull to watch, filled with dry, perfunctory dialogue from Stacey Menear’s consistently uninventive script and shot without even a glimmer of style, that even at a brisk 86 minutes, it feels like unending torture.
  10. Balloon
    How Herbig fails to capitalise on the sheer physical terror of their flight – the balloon’s basket is more a flimsily strung boxing ring – makes you wish someone like Werner Herzog had mounted this mad escapade for real.
  11. Emma.
    Sometimes the casting and staging work well, sometimes not so well.
  12. The Call of the Wild
    The result is a bit corny, a bit cheesy and you might feel self-conscious going, “Aww …” at creatures that are not real dogs but laptop fabrications. But it’s a robust and old-fashioned entertainment with some real storytelling bite.
  13. The Photograph
    Issa Rae and Lakeith Stanfield can’t save this dreary Valentine’s drama that lacks fizzle and emotional stakes.
  14. Sonic the Hedgehog
    Like its fast-moving, attention-deficient hero, this just feels like a rush job.
  15. Untouchable
    Untouchable: The Rise and Fall of Harvey Weinstein (BBC Two), directed by Ursula MacFarlane, is a film of halting testimonies, long pauses, lips pressed tightly together and eyes filling with tears.
  16. Dolittle
    What Sheen, born in Gwent, makes of Downey’s accent can only be imagined. It really is horribly inert, and every time Downey opens his mouth to say something unintelligible, the film dies a bit more.
  17. Horse Girl
    The ambition of Horse Girl ultimately gets the better of it, turning what could be a dark but insightful depiction on signs missed in a mental health crisis into an agreement on one’s madness – a game of what’s real, and what’s not, that feels unsettling to play.
    • 54 Metascore
    • 60 Critic Score
    To All the Boys: P.S. I Still Love You
    To All the Boys: PS I Still Love You doesn’t quite match its predecessor for heart fizzing romance – the first film dealt sensitively with loss and grief – but it’s just as entertaining and charming anchored by a supremely likable central performance from Condor.
  19. The Doors: Break On Thru - A Celebration Of Ray Manzarek
    The hits comes thick and fast, tightly arranged and slickly performed, but this lineup of well-preserved mostly male musicians gives the show the bland atmosphere of a celebrity tribute band.
  20. Plus One
    It needed bigger laughs and more of the big, ironic comedy that Erskine can clearly deliver.
  21. Daniel Isn't Real
    It’s full of plot holes but compulsively watchable for the first hour, before the whole thing falls to pieces as Mortimer chucks in a load of well-worn horror-movie tropes.
  22. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    This film is a blitz of bad taste, a cornucopia of crass, and it is weirdly diverting – more than you might expect, given the frosty way Suicide Squad was received critically – and engagingly crazy. Watching it feels cheerfully excessive and unwholesome, like smoking a cigarette and eating a chocolate bar at the same time.
  23. The Lodge
    It’s a bruising movie, being sold on the promise that it’s “scary as hell”, a quote that I worry will mislead expectant horror fans. The scariest thing about The Lodge is how human it all is.
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