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. A Simple Favor
    Kendrick and Lively have never been funnier, snapping one-liners at each other like elastic bands; the script is hyper-alert to the undercurrent of competitiveness between stay-at-home and working mums.
  2. Tea with the Dames
    I would have loved to hear a discussion on a wider range of issues, particularly #TimesUp, but with a film this much fun, it seems churlish to ask for anything else.
  3. Never Here
    Thoman coolly creates an oppressive atmospheric charge, as well as a deadpan satiric view of a certain kind of chillingly affectless conceptual art. A disquieting and mysterious mirage of a film.
  4. Faces Places
    It is a beguiling and unique piece of work.
    • 70 Metascore
    • 80 Critic Score
    MATANGI/MAYA/M.I.A.
    The film comes from a place of deep admiration for MIA, but unlike more fawning biographies, it makes a convincing case that this admiration is well earned.
  6. The House with a Clock in Its Walls
    It is reasonably inoffensive, a bit like the recent Goosebumps, in which Black played a comparably defanged role, but it looks as if it was produced by some computer programme, devised by accountants and market researchers.
  7. Mile 22
    It’s another of Wahlberg’s collaborations with director Peter Berg, but without the style of their other films.
  8. The Captain
    It is a horrifying parable, with chilling moments, although the story is structurally uneven.
  9. Loving Pablo
    Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product, inexactly cut.
  10. A Wizard's Tale
    The movie is full of wackiness but contains only traces of comedy.
  11. Lucky
    A sad, sweet movie.
  12. 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.
  13. Boy Erased
    It’s a curiously underwhelming, muted, often plodding two hours that fails to reach the emotional highs and devastating lows one would expect from the material.
  14. 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.
  15. 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.
    • 74 Metascore
    • 80 Critic Score
    Crazy Rich Asians
    With a premise straight from classic literature and fairytales, Crazy Rich Asians is a transportive romcom about a poor girl who finds her Prince Charming – and is then thrown into the extravagant, glitzy, catty world of the Singapore elite.
  17. 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.
  18. 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.
  20. 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.
  21. 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.
  23. 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.
  24. Green Book
    There’s clearly a more nuanced drama to be made from this story but given the scale, there’s still a lot here to praise.
  25. 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.
  26. 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.
  27. 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.
  28. Destroyer
    Kidman fearlessly commits to the filth of it all, whether it’s drunkenly fighting off her daughter’s sleazy boyfriend or jerking off a bed-ridden informant, but her radical transformation and some timeframe trickery can’t mask a plot that feels rather empty.
  29. 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.
  30. 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.
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