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. Watergate
    In the course of a mammoth, horribly absorbing four-hour film from Charles Ferguson we are immersed in a world of milky TV news footage, big lapels, bulbous combovers, dirty tricks, sweat, jowls and guilt.
  2. Monos
    An arrestingly bizarre experience.
  3. A Private War
    The film’s relative failure to engage with the more quotidian details of Colvin’s behind-the-scenes existence is a shame, because it is here that some real clues to her personality might have been found.
  4. Mektoub, My Love: Canto Uno
    It spends its time among unfeasibly beautiful young people in microscopically tiny swimming costumes, and moves with them in a trance of heightened physicality, drifting across beaches, bars and dancefloors. The mood is dreamy unseriousness qualified occasionally by temporary stabs of jealousy or misery. The sexiness isn’t promiscuous exactly; more directionless.
  5. Happy Death Day 2U
    An inevitable yet staggeringly unnecessary follow-up to the surprise horror hit turns a nifty concept into an exhaustingly convoluted mess.
  6. Isn't It Romantic
    In a fun, glossy take down of age-old genre tropes, Rebel Wilson wakes up in an alternate universe, dominated by romantic comedy cliches.
  7. High Flying Bird
    In picking at a system until it’s threaded, High Flying Bird is a classic Soderbergh construct.
  8. If Beale Street Could Talk
    In some ways, If Beale Street Could Talk is a portmanteau movie with great performances from KiKi Layne, Regina King and Brian Tyree Henry, a succession of scenes from interrelated lives, constellated around the main narrative arc and supercharged with an ecstasy of sadness and knowledge.
  9. Boy Erased
    At all events, it shows how homophobia creates credulous, fearful people vulnerable to the snake-oil con trick of “conversion”.
  10. Ek Ladki Ko Dekha Toh Aisa Laga
    After India decriminalised homosexuality last September, many wondered anew: what would a Bollywood romcom look and sound like with a non-straight protagonist? The answer, it transpires, is: much the same as any other Bollywood romcom.
  11. Native Son
    It’s a fiery, flawed, often stunningly made film that provokes uncomfortable discussion, rather like the Richard Wright novel it was based on, although purists might argue over some key changes.
  12. Them That Follow
    It’s competently made but utterly vacant, a forgettable indie fading fast.
  13. The Souvenir
    The Souvenir is an artefact in the highest auteur register. Its absence of tonal readability is a challenge. But there is also a cerebrally fierce, slow-burn passion in its austere, unemphasised plainness.
  14. The Report
    The Report is an angry, urgent film that rarely raises its voice, smartly conveying inhumanity and injustice without unnecessary drama. I found it thrilling.
  15. Official Secrets
    Official Secrets is a well-intentioned retelling of a daunting act of courage and as a vehicle for informing more people of who Katharine Gun is, it’s effective, carefully laying out the incremental stakes as well as her noble intentions. Credit for this however lies almost solely with Knightley.
  16. Late Night
    Arguably the film’s biggest problem is that it’s less laugh-out-loud hilarious and more deserving of the odd casual smirk.
  17. The Last Black Man in San Francisco
    It’s a shaggy, wistful film that acts as a heartfelt tribute to both a city and a friendship and when the cutesy quirk that surrounds it is dialled down, we’re able to appreciate the underpinning earnestness.
  18. Knock Down the House
    Knock Down The House is far more effective when it is about the people and the process, not landing quips.
  19. Where's My Roy Cohn?
    What this by-the-numbers approach lacks in artistry it makes up for in an avalanche of facts.
  20. The Farewell
    It’s a slight film at times but one that builds to a crescendo of emotion.
  21. Alita: Battle Angel
    Alita: Battle Angel is a film with Imax spectacle and big effects. But for all its scale, it might end up being put on for 13-year-olds as a sleepover entertainment. It doesn’t have the grownup, challenging, complicated ideas of Ghost in the Shell. A vanilla dystopian romance.
  22. Escape Room
    A very cinematic spatial impossibility is conjured up by Robitel as he allows the audience to ponder how exactly these rooms are supposed to fit together. The film has a vicious streak of throwaway black comedy.
  23. How to Train Your Dragon: The Hidden World
    All the fire and lifeblood of this idea has been sucked out and we are left with something bland.
  24. Animals
    Its wild nature won’t be to everyone’s taste, but that’s sort of the point. It’s not a film that cares if you find these women charming or likable – it just cares that you believe them.
  25. The Gandhi Murder
    The combination of WTF casting and glaring technical limitation proves so distracting you can barely focus on the script’s new intel.
  26. Green Book
    Mahershala Ali and Viggo Mortensen are two excellent actors outclassing their material in this amiable feelgood-liberal entertainment, inspired by a true story.
  27. Can You Ever Forgive Me?
    The law about movie characters needing to be sympathetic is defied in this horribly fascinating true-crime black comedy.
  28. Blinded by the Light
    There’s something so constructed and suffocating about watching a tried and tested formula not working, the over-sentimental string-pulling on show for all to see.
  29. After the Wedding
    It would be difficult to invest in if not for its two main stars who work hard to elevate the overly engineered plot, filling in the emotional gaps left by the haphazard script.
  30. Velvet Buzzsaw
    Gilroy avoids the ghoulish extremes of Tom Ford’s Nocturnal Animals and offers up a believably pretentious battleground. He’s as invested in crafting a fully fleshed art world as he is in creating a full-on horror film and while the two often blend well, at other times, his concoction is far less effective.
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