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. The Perfect Candidate
    The Perfect Candidate is a simple story, told without frills or even much in the way of nuance. But it’s socked through with great power, conviction and an underlying hope for a better world.
  2. Bait
    What an intriguing and unexpectedly watchable film. Bait is an experiment – and a successful one.
  3. Wasp Network
    The film is glossy, illuminating and frequently exciting. What it lacks is an emotional charge and a fine-grained texture. We need to invest in these people in order to understand their decisions – and care about the consequences of these.
  4. American Skin
    No one in real life speaks the way they do in this film. No genuine drama is this crudely ordered drama, with its telegraphed turnabouts and conveniently-placed confessions, all building to a stage-managed plea for tolerance and unity.
  5. Inna de Yard
    The movie’s a great night out, but you sense it’ll also become a priceless resource.
  6. Mrs. Lowry & Son
    An entertaining showcase for two first-class performers.
  7. The Laundromat
    The film’s prize asset ... is Meryl Streep.
  8. Judy
    Zellweger gives us a tribute to Judy Garland’s flair and to that ethos of the show needing to go on being both a burden and driving force. Yet Garland’s terrible sadness is mostly invisible.
  9. Edie
    We get some lovely photography of the Highlands and the breathtaking landscapes all around Inverness, and Hancock is always a potent presence. But she could have done more, conveyed more, with a story that wasn’t so basically simplistic and familiar.
  10. Seberg
    It tells us that Seberg was wronged and that she looked really great in a bra – and not necessarily in that order.
  11. An Officer and a Spy
    It’s a solid, well-crafted piece of professional carpentry, like a heavy piece of Victorian furniture; built to last; built to be used. The longer you look at it, the more impressive it grows.
  12. A Million Little Pieces
    A Million Little Pieces is a weirdly unreflective exploration of the destructive force of addiction and, setting a new benchmark for blandness, drags on for what feels like a million not-so-little minutes.
  13. The Mustang
    Brilliantly, Schoenaerts almost underplays Roman’s anger, lumbering slowly like a wounded animal, the downward slope of his eyes conveying a howl of rage. It’s an electrifying performance.
  14. Angel of Mine
    If some elements of Angel of Mine are simplistic, Rapace’s magnetic performance is anything but.
  15. Marriage Story
    Baumbach seeks to mine his material for laughs, no matter how desperate the situation becomes.
  16. The Truth
    It’s handsome, it’s amusing, it knows exactly where it’s going. All that is missing is that crucial fifth gear.
  17. Super Size Me 2: Holy Chicken!
    This time, his journey doesn’t send him to the ends of experience. Instead, he goes on a smug odyssey of know-it-all-ism that yields a scant few factoids we didn’t already learn from his first film.
  18. Hail Satan?
    With her funny, light-hearted documentary, Penny Lane lets the sunshine in, focusing on the Temple’s message of open-mindedness and inclusivity – LGBTQ followers speak of a sense of belonging.
  19. Killers Anonymous
    It’s a nonsensical premise and a pretty incoherent, painfully inept film.
  20. Scary Stories to Tell in the Dark
    The kids – particularly Zoe Colletti as the sensitive Stella – are very good, and it just about functions as a brainstorm of primal fear scenes, the movie equivalent of a horror-comic summer special: good for the odd giggle and shiver, if naggingly disposable.
  21. Angel Has Fallen
    As with Den of Thieves, Angel falls into the “lively mediocrity” category of Butler schlock, with one or two plot hikes that suggest the script meetings were well-refreshed.
  22. The Nightingale
    The intelligence of Kent’s direction and the humanity she reveals in both Clare and Billy give the film its arrowhead of power.
  23. Ready or Not
    As a comedy, it’s simply not funny and as a horror, it works better in pieces but not with the consistency a film set over one night would require.
  24. UglyDolls
    The film is constantly defining what ugly is: freckles, crooked teeth, excess weight, glasses, clumsiness. At times it feels like an unintentional crib sheet for under-sevens bullying.
  25. Dora and the Lost City of Gold
    The knowing tone again feels like Hollywood confessing to trading in material few could take seriously, yet a certain sincerity is evident in Moner’s winning performance.
  26. J.T. Leroy
    It’s a very forthright performance from Dern, but Stewart is simply too opaque and subdued in the role of Knoop. The film itself pulls its punches, unwilling to satirise either her or the egregious Albert too fiercely; it is inhibited about really attacking the vanity of the situation.
  27. American Factory
    There are toe-curling culture clash moments.
  28. Where'd You Go, Bernadette
    It’s the kind of adaptation that is so misjudged that you end up struggling to see why anyone thought it a good idea to adapt in the first place.
  29. Transit
    The strangeness of this story will live in your bloodstream like a virus.
  30. Good Boys
    Some massive laughs, a huge Stephen Merchant cameo and the most impressive school play on film since Wes Anderson’s Rushmore are all on offer in this very funny teen – or rather tween – comedy.
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