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. Lucky
    A sad, sweet movie.
  2. The Old Man & the Gun
    It would require a true curmudgeon to not derive pleasure from that twinkling performance from Redford, radiating smoothness, wisdom and charm to the very end.
  3. Hold the Dark
    While the shifts in genre, plot and location do prove intriguing for much of the film, they ultimately result in a feeling of mild dissatisfaction, the whole never quite the sum of its parts.
  4. The Land of Steady Habits
    The Land of Steady Habits, though not as funny and breezy as Enough Said or Friends With Money or Please Give, is a natural extension of Holofcener’s work, the totality of which is, in part, a rebuke of the idea that likability is necessary or even desirable in film characters.
  5. Crazy Rich Asians
    [A] highly entertaining and outrageously over-the-top Cinderella soap opera.
  6. Quincy
    It’s a victory lap, which will probably be enough for fans content to share Q’s presence and nothing more. But this movie isa cataloguing of a man who lives in three dimensions. In sticking to recitation of well-known historical fact and flattery it has taken the easy way out.
  7. Out of Blue
    It’s a lugubrious quasi-noir mystery set in modern-day New Orleans, starring a charismatic Patricia Clarkson as Detective Mike Hoolihan; a movie that sometimes seems papier-mâchéd together with layers of mannerism and pastiche, floating along like a two-hour dream sequence.
    • The Guardian
      • Posted Sep 12, 2018
    • 77 Metascore
    • 60 Critic Score
    The Nightingale
    Weaving themes of colonialism and class into the broad strokes of a won’t-stop-can’t-stop revenge potboiler, the film marks a step forward for the Australian director in terms of ambition and scope. In execution, however, the songbird hits a few false notes.
  9. The Mountain
    This is a film with an impressive, sometimes oppressive craft and technique – but it also feels unfinished. A sustained and rather brilliant conjuring of atmosphere, with some superb ambient music, finally succumbs to a rather banal inability to decide where to take the story and exactly how important the story has been.
  10. J.T. Leroy
    JT LeRoy may have been an elaborate fib, but Kelly finds a genuine pearl of wisdom in the web of deception.
    • 62 Metascore
    • 80 Critic Score
    Hotel Mumbai
    Hotel Mumbai is an excellent, white-knuckle thriller – and an unlikely crowd-pleaser.
  12. Her Smell
    Her Smell is built around a performance of near-unwatchable toxicity by Elisabeth Moss, who channels a combination of Courtney Love and Heath Ledger’s Joker with her spiteful, slowly imploding rock star.
  13. Donnybrook
    It’s a pulpy slab of exploitation masquerading as an important treatise on the struggles faced by the working class in rural America, thumping us in the face with its shallow viewpoint until we beg for mercy. Or at least the credits.
  14. The Death and Life of John F. Donovan
    None of it rings remotely true and his insistence on playing out so many scenes at such a high level can make it an excruciating watch.
  15. Ben Is Back
    There are good intentions and good performances here, but they’re squandered in a movie that isn’t quite sure what it should be and how far it should go.
  16. Life Itself
    You rarely get the sense of Fogelman’s characters being complex figures with internal lives – instead they’re merely there to smile weakly through whatever trauma their sadistic creator puts them through.
  17. Where Hands Touch
    It’s a film entirely devoid of subtlety yet one that also fails to provide the grand emotion it yearns to deliver, despite the use of a sledgehammer.
  18. The Command
    It’s a heartbreaking, troubling film about men whose lives were cruelly deprioritised and whose families remain ever altered as a result. It ends on a note of melancholy but the burning anger also remains, the final scenes tinged with a painful awareness of wounds that may never heal.
  19. Greta
    It’s everything and nothing, a familiar regurgitation of a formula with precious little to add.
  20. High Life
    With an achievement of this calibre it’s hard to resist hyperbole: High Life contains the single greatest one-person sex scene in the history of cinema.
  21. Gloria Bell
    It’s an engaging, inventive cover version.
  22. Halloween
    There are some effectively nasty kills (this is no PG-13 reboot) and Green’s visual eye often results in some impressive imagery but both the look of the film and the script feel confused. Green can’t seem to decide whether he wants it to be gritty and lo-fi or slick and cinematic and so ends up awkwardly between the two, anything resembling an atmosphere sorely missing.
  23. Charlie Says
    It has none of the brilliance and insight of Emma Cline’s 2016 novel The Girls, on roughly the same subject.
  24. Final Score
    Final Score puts a cheeky British spin on the set-up.
  25. The Predator
    There’s definite fun to be had here and franchise fans will surely appreciate both Black’s nods to the past and his plan for the future but there’s something forgettable about its freneticism, and I struggle to imagine in 31 years if it will be thought of at all.
  26. Vox Lux
    It’s part satire, part social comment, all fragmented and downright inconclusive.
  27. The Miseducation of Cameron Post
    The film concludes in a minor key, and unresolved: always smart, amusing and engaging.
  28. American Animals
    I was utterly absorbed in this teeth-clenchingly exciting story and the “heist” sequence itself stands up really well – as well as anything I’ve seen.
  29. Sunset
    It’s a very mysterious and even bizarre film in many ways, shot in what is becoming Nemes’ signature style: long takes, a persistent closeup on the lead character’s face, and a shallow focus that allows the surrounding reality to intrude only intermittently.
  30. Dragged Across Concrete
    Zahler has a way with action, and the set pieces are inventive and nasty, with an unflinching eye for violence. Such style and confidence is impressive. But after three movies, his increasingly morose characters’ world-weariness is becoming wearying in itself; a little more light and shade here and there would easily take this cult director to the next level. That is, if he wants to go.
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