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. Earthquake Bird
    I was less taken with the wait-is-this-really-happening moments that tend to undermine the emotional currency in which the drama is presented to us. Some real tremors, though.
  2. Celebration
    Gives us an amazingly candid and rather shocking study of the legendary fashion designer, and his apparent physical and mental deterioration at the age of 60.
  3. Tales from the Lodge
    With well-timed rhythms and backchat, the ensemble is quite credible as a gaggle of slightly obnoxious, mildly likable millennials on the brink of middle age.
  4. After the Wedding
    The mystery has been dialled down, the treacle dialled up, and what we are left with is basically Eat Pray Love 2.
  5. Making Waves: The Art of Cinematic Sound
    Here is a valuable and deeply felt documentary, celebrating the work of the sound designers, sound editors and Foley wizards in the cinema, and if it feels like a feelgood in-house promotional video for Hollywood technicians … well, they’ve got an awful lot to feel good about.
  6. Doctor Sleep
    It is more than half an hour longer than the Stanley Kubrick film, although it seems more than that – laborious, directionless and densely populated with boring new characters among whom the narrative focus is muddled and split.
  7. 63 Up
    Apted has honed his skills over the years, becoming less presumptive and more content to let narratives unfold naturally. And, of course, the unprecedentedly long relationship between the maker and his subjects has led to more give and take between them.
  8. Farming
    Farming is a tough film on a tough subject. There’s not much light and shade – but there can’t have been much light and shade going through it in real life – and Gubu Mbatha-Raw’s role as the concerned teacher is weakly drawn.
  9. Western Stars
    A little of the intimacy is gone, and I have to admit to not being 100% sold on the cowboy-inflected songs, which feature quite a bit of dime-store sentimentality. But Springsteen is undoubtedly magnetic, his voice a honeyed growl.
  10. Chained for Life
    Packed with rambling digressions, sudden shifts of tone, and playful fake-outs as it shuttles between layers of “reality” and performance, but constructed with precision and assurance, it leaves you with both a sugar high and slight sense of nausea.
  11. By the Grace of God
    Ozon has made a decent and valuable film, though it often seems like the drama part of a docudrama: some of the scenes feel like respectful re-enactments that could have gone into a documentary.
  12. Countdown
    Rather than screaming for them to go the other way, you'll be urging them to accept fate and die instead.
  13. Terminator: Dark Fate
    It’s good to see Hamilton getting a robust role, although, sadly, she has to concede badass superiority to Davis. This sixth Terminator surely has to be the last. Yet the very nature of the Terminator story means that going round and round in existential circles comes with the territory.
  14. Zombieland: Double Tap
    As dated as its slow-mo zombie-killing opening credits, at times Zombieland: Double Tap feels like it was made directly after the original yet carelessly forgotten about. It’s rushed and dusty, a film more belonging on Crackle than the big screen, more expensively budgeted than the first yet mostly creatively bankrupt.
  15. Maleficent: Mistress of Evil
    This Maleficent is disappointing, although Jolie certainly sells it hard, as does Fanning, who takes it as seriously as anything else in her career.
  16. The Irishman
    There’s an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.
  17. Fractured
    The film is just a machine, slick but soulless and with parts in need of a touch-up. Not broken exactly, but more, ahem, fractured.
  18. The Day Shall Come
    It’s a diverting scenario, though maybe it doesn’t quite have the “danger – high voltage” thrill of Morris’s other works.
  19. The King
    One watches Chalamet’s performance here with a simmering unease, willing him on but wondering if he is entirely fit for the task.
  20. Abominable
    Here’s a defanged, declawed yeti in an animation whose every beat, character and narrative component feels as if it has been algorithmically tested for commercial safety by a computer programme.
  21. Dolemite Is My Name
    It’s a heartfelt, funny, satisfying film.
  22. El Camino: A Breaking Bad Movie
    While it has both style and content, El Camino feels more like a feature-length TV episode than an actual movie. It is too compact and fragmented to truly stand on its own, and viewers who have not seen the preceding 62 hours of Breaking Bad will likely struggle to enjoy it.
  23. The Last Tree
    It’s a charismatic performance from Adewunmi, and Amoo’s camera often comes in close to his face and his gaze, suggesting that Femi is on the verge of some kind of epiphany or vision – and it’s nothing to do with the drugs.
  24. The Dead Center
    What’s crucial is how Senese and cinematographer Andy Duensing film these elements: patiently, attentively, with a feel for space and ambient atmosphere, and a reluctance to offer easy explanations that invites tantalising metaphorical readings, and counts as recognisably Carruthian.
  25. Good Posture
    Wells’s coolly indirect way with dialogue prevents the movie becoming insufferable in the way that it might have done in other hands. It is like a short story that insouciantly signs off before you’ve quite decided what it means.
  26. Citizen K
    [Gibney's] film does present Khodorkovsky in context in a way that I haven’t seen before. He was the oligarch smart enough – and ruthless enough – to do as well or better than anyone in the Yeltsin/Putin free-for-all years, and then his smartness and ruthlessness perhaps gave him a perspective on it all.
  27. American Woman
    Despite featuring big-name actors – Miller, Paul and Mad Men’s Christina Hendricks as Debra’s sister – American Woman is a film with a lived-in authentic feel. And Miller plays it beautifully with psychological depth and not a jot of actorly condescension.
  28. The Sky Is Pink
    The ending is unforgivably mawkish, though, and the running time of two-and-a-quarter hours is simply too long.
  29. VS.
    A movie with flair and force.
  30. In the Tall Grass
    While some of the nastier lurches in the third act will appease genre fans, the guff that surrounds them will probably confuse and ultimately alienate them, the film’s moving parts never really moving in unison.
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