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. In Safe Hands
    This intelligently performed film is still a welcome look at a vital and underappreciated duty of state.
  2. A Vigilante
    The more the movie explains, the less powerful it becomes – ending with a Shining-like finale in the snow that for me was a letdown.
  3. Ma
    Spencer works hard to keep us on her side and it’s her messy, melancholic character work that endures, a portrait of a woman broken and breaking those around her that’s really quite hard to shake. Ma is a few more drafts from perfection but the actor playing her is the real deal.
  4. Thunder Road
    Cummings presents us with a guy whose heart is in the right place – he just can’t control himself. But, like me, others may find their tolerance for a clueless white man’s anger issues has maxed out.
  5. Godzilla: King of the Monsters
    It’s a film with too much yet somehow so very little.
  6. Sibyl
    Fundamentally, Sybil is not funny because it is not convincing, and some of the acting is not of the highest order. Efira’s “drunk” turn is something she may wish to omit from her showreel.
  7. Oh Mercy!
    It is a drama that attempts to behave like a tough police procedural in a quasi-Melville vein, but also like a musing prose-poem about the vanity of human wishes.
  8. It Must Be Heaven
    There are times when the passive, elusive quality of It Must Be Heaven, as with other Suleiman films, eluded me and felt mannered and superficial, but they are stylishly made with a distinctive signature.
  9. Lux Æterna
    Insufficiently diverting ... Lux Æterna shows Noé reverting to the self-parodic silliness that Climax had taken him past.
  10. The Traitor
    The film has the authoritative air of official history: sometimes brash, sometimes stolid, sometimes with flashes of inspiration and sometimes with long stretches of courtroom dialogue.
  11. Mektoub, My Love: Intermezzo
    Bizarre, colossally self-indulgent ... This one feels as if Kechiche has simply given us three-and-a-half hours of his unused beach and nightclub footage from the first film.
  12. John McEnroe: In the Realm of Perfection
    McEnroe makes a fascinating focal point.
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