The Guardian's Scores

Select another publication »
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
view
per page
  1. Night Hunter
    This is such twaddle it becomes kind of fun, except that there’s an uncomfortable feeling – as with many vigilante movies – that the film is revelling in the sexual violence and covering itself with the fig leaf of justice-seeking.
  2. For Sama
    Sifting six years’ worth of rubble, al-Kateab turns up beauty and one earthly miracle to set alongside the horrors, but horrors there are.
  3. The Two Popes
    An enjoyable double-act – but not an infallible one.
  4. Motherless Brooklyn
    It’s a heavy meal to digest, but this is a strong, vehement film with a real sense of time and place.
    • 52 Metascore
    • 60 Critic Score
    Waiting for the Barbarians
    It’s easy to read the film as a not particularly subtle metaphor for fascism or “the war on terror”, and its black hats aren’t so much characters as automatons.
  6. Lucy in the Sky
    It is a witty, intriguing film in many ways ... But I also feel the film is unsure of how much to disturb its audience, unsure whether to pursue the chaos and embarrassment of a bungled, noir-ish crime and an unsightly psychological disorder, or to contrive something more emollient: to finesse some sympathy and even heroism for the story’s troubled female lead.
  7. Greed
    Greed isn’t especially penetrating about money or power. ... Winterbottom chucks everything up to and including the kitchen sink into this movie: sometimes it works and sometimes it doesn’t.
  8. Honeyland
    Honeyland really is a miraculous feat, shot over three years as if by invisible camera – not a single furtive glance is directed towards the film-makers.
  9. Harriet
    The result falls somewhere between a slave-escape drama, an action thriller, a western and even an unexpected kind of superhero film. It’s a winning combination, although Lemmons does not immerse us in the agony and injustice of slavery as such; she puts together a well-crafted movie that is the showcase for an excellent performance from Erivo.
  10. Uncut Gems
    It’s a remarkable match-up between film-makers and actor and reaffirms the importance of that partnership, especially for a movie star stuck in a profitable rut. Sandler deserves more, and if he wants us to keep watching, then so do we.
  11. The Aeronauts
    It is a film with charm and the chemistry between Jones and Redmayne has something rather platonic and even sibling-like, but that isn’t to say there isn’t a spark of sorts.
  12. Bad Education
    It’s a slight movie at times, unfocused at others, even plodding in parts, and I didn’t leave the cinema entirely convinced that it was the most satisfying way to tell this particular story but I did leave feeling confident in both Jackman’s prowess and Finley’s promise, yet to be fully realised.
  13. Radioactive
    The admiration for a woman who knew so much about so much clashes with the unspoken assumption that the audience knows absolutely nothing about anything.
  14. Ford v Ferrari
    It is crammed with unearned emotional moments and factory-built male characters whose dedication to their sport we are expected to find adorable and heroic by turns.
  15. Downton Abbey
    The plots are rickety and the characterisation has the depth of a Franklin Mint plate, but there are some funny moments and Kevin Doyle, playing the overexcitable servant Molesley, pretty much steals the entire film.
  16. About Endlessness
    About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.
  17. Jojo Rabbit
    It’s oddly safe, given the subject matter, and the humour is similarly sanitised. What Waititi thinks is shockingly audacious is in fact frustratingly timid, he opts for a gentle prod when maybe a punch would do.
  18. Ema
    While I confess that I found Ema to be a notch down on his best work, it’s still hugely distinctive and daring and may well be a grower.
  19. Honey Boy
    For LaBeouf, the script was quite literally a form of therapy for deep-rooted issues he still struggles with and as such, it’s an inventive and admirably introspective exercise. As a film though, it’s only half as successful, not quite as involving or as stirring for us as it surely is for him.
  20. Scarborough
    The performances are strong and full of passionate conviction, which somewhat moderates the problematic aspects, while the use of natural light and tacky seaside textures does succeed in generating some atmosphere.
  21. The Painted Bird
    I can state without hesitation that this is a monumental piece of work and one I’m deeply glad to have seen. I can also say that I hope to never cross its path again.
  22. Just Mercy
    Cretton ... can’t quite rise to the material or his performers, choosing anonymity over ferocity, making the dullest, safest decision at every turn. It’s not enough to topple the fascinating true story at his film’s centre but it does have a frustrating, flattening effect.
  23. Hope Gap
    Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again.
  24. Blackbird
    It’s less of a film and more of an actors’ workshop, an exercise for everyone involved but meaningless to us.
  25. Hustlers
    Lopez slinks through Hustlers with a deceptive ease, as in control of the film as her character is of her situation. It’s the sort of role that only a true movie star could pull off, so much of it reliant on a rare, intoxicating magnetism.
  26. Waves
    So there are two films here: one is frightening and poignant and the other tender but slight. The first one will haunt me even if the second will fade.
  27. Knives Out
    A contemporary whodunnit that both respects and revises the subgenre. ... It’s such a rare pleasure to see a director so in love with a genre without slipping into Tarantinoesque fanboy indulgence, remembering his audience is bigger than himself and also that his film requires both head and heart.
  28. Ne Zha
    I enjoyed the jolt of strangeness delivered by this world of demons stalking the Earth. But the action is hit-and-miss.
  29. It: Chapter Two
    Like the first film, it becomes a virtual non-narrative anthology of standard jump-scares that could be reshuffled and shown in any order. The second time around, your tolerance for this is tested to destruction and beyond because, unlike the first movie, it is just so pointlessly long.
  30. The Informer
    The Informer is spread over a big canvas, but by the time of its big finale it is leaking energy. It might have made better sense as an episodic drama on television but it is brash and watchable, its world reeking with cynicism and fear.
Page:

Top Trailers

See all »
See all trailers »