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. At Eternity's Gate
    Julian Schnabel has made a heartfelt if straightforwardly reverent film about the last years in the life of Vincent van Gogh – acted by with all the integrity and unselfconscious ease that you would expect from this great actor.
  2. Yardie
    A debut of unarguable promise, though – plenty to build on if Elba can resist the adolescent lure of running round with 007’s PPK.
  3. The Sisters Brothers
    Audiard’s storytelling has an easy swing to it, his dialogue is garrulous and unsentimental, and the narrative is exotically offbeat.
  4. Suspiria
    There are smart moments of fear and subliminal shivers of disquiet, the dance sequences are good and of course Guadagnino could never be anything other than an intelligent film-maker. But this is a weirdly passionless film.
  5. Peterloo
    Mike Leigh brings an overwhelming simplicity and severity to this historical epic, which begins with rhetoric and ends in violence. There is force, grit and, above all, a sense of purpose; a sense that the story he has to tell is important and real, and that it needs to be heard right now.
  6. The Ballad of Buster Scruggs
    The Coens have given us a hilarious, beautifully made, very enjoyable and rather disturbing anthology of stories from the old west, once planned for television but satisfyingly repurposed for the cinema: vignettes that switch with stunning force from picturesque sentimentality to grisly violence.
  7. A Star Is Born
    For one star to get an award, a handful of defeated nominees have to swallow their pain, as the spotlight moves away from them. For one star to deliver the shock of the new, another one has to receive the shock of the old. A Star Is Born turns that transaction into a love story.
  8. The Other Side of the Wind
    This is a crazy, dishevelled, often hilarious film, in which lightning flashes of wit and insight crackle periodically across a plane of tedium.
  9. The Favourite
    The Favourite may have corrected Lanthimos’s tendency towards arthouse torpor. It is a scabrous and often hilarious film, made loopier by the nightmarish visions and wide-angle distortions contrived by the cinematographer Robbie Ryan.
  10. Roma
    At times it feels novelistic, a densely realised, intimate drama giving us access to domestic lives developing in what feels like real time. In its engagingly episodic way, it is also at times like a soap opera or telenovela. And at other times it feels resoundingly like an epic.
  11. Destination Wedding
    The pair share an easy, spiky chemistry and Reeves in particular shows himself to be surprisingly skilled at delivering such bile-filled dialogue.
  12. Milford Graves Full Mantis
    This delightfully entertaining and idiosyncratic music documentary ought to banish the stereotype of drummers as talentless thickos. It’s also one of those films you can happily watch without having a jot of prior interest in its subject.
  13. The Man from Mo'Wax
    Ego, money, drugs: Lavelle’s story has the makings of an entertaining account of the music business. But this film feels too much like a promo for a comeback attempt.
  14. Slender Man
    If you thought the bogeyman was slender, wait till you see the film.
  15. Upgrade
    At its best – in a boundless chase round a hackers’ hangout, and a high-speed freeway pursuit – Upgrade is as fluid and exhilarating as anything the Wachowskis signed their names to in the days when they were brothers: the kind of nifty, sometimes nasty surprise our multiplexes sorely need.
  16. Action Point
    Watching it is like travelling through a wormhole to a slightly crummier version of 2004.
  17. Searching
    Chaganty’s tab-toggling is pacy enough, but he gets pedantic about tying up unfinished digital business, and Unfriended’s pulse-raising wildness is beyond him.
  18. The Little Stranger
    The Little Stranger is fluently made and really well acted, particularly by Ruth Wilson, though maybe a bit too constrained by period-movie prestige to be properly scary.
  19. First Man
    It is a movie packed with wonderful vehemence and rapture: it has a yearning to do justice to this existential adventure and to the head-spinning experience of looking back on Earth from another planet.
  20. I Am Not a Witch
    It’s a strange witches brew of deadpan farce and arthouse stillness that some will find exasperating, and it’s not without its missteps; but there’s a confidence and clarity of vision that’s hard not to admire, especially for a first feature.
  21. Active Measures
    Bryan’s done his homework, mapping out an elaborate network of past wrongdoings with news clippings and TV footage. If the just deserts that this film demands ever come to pass, it will almost certainly be the most copiously photographed treason in a long and illustrious American tradition.
  22. Bad Samaritan
    Given the nasty taste in the mouth that the film leaves, it seems almost besides the point to worry about plot holes.
  23. Luis and the Aliens
    This bland and predictable animation about an outsider kid who makes friends with aliens pinches an awful lot of its ideas from superior family films, without reviving any of their wonder or fun.
  24. The Wild Boys
    Mandico has made a wildly strange debut, striking enough to make you sit up and pay attention.
  25. Makala
    It is a sad and lonely world, sympathetically captured, beautifully photographed.
  26. Alpha
    It is a bit silly, but is likable hokum.
  27. The King
    Just when we thought it was impossible to say something new about , documentary film-maker Eugene Jarecki pulls it off.
  28. The Spy Who Dumped Me
    It’s pretty much impossible for Kate McKinnon to dip below a basic level of funny, and her presence keeps the fizz in this spy spoof action-comedy from director and co-writer Susanna Fogel.
  29. The Happytime Murders
    As with all overwhelmingly poor movies, it’s the delicate confluence of many varied factors that creates the critic’s familiar feeling of despairing hopelessness in the cinema.
  30. Operation Finale
    The debate over the utility of violence and the dignity owed prisoners of war has raged since time immemorial, and recent developments have only amplified the decibel level. Operation Finale zeroes in on these complex dynamics, only to erase their nuance.
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