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. The Big Bad Fox & Other Tales
    The look is cute, deceptively simple and suggestive of the illustrations in children’s books, however, the 2D minimalism is executed with a high degree of craft. It is hard to make something like this look so easy and effortless.
  2. Damascus Cover
    The twist ending is muddled, and has a rather bland and emollient equivalence between intelligence agencies.
  3. Hearts Beat Loud
    You might need a sweet tooth for this gentle, Hornbyesque drama from writer-director Brett Haley. But it’s a likable heartwarmer and very decently acted.
  4. The Apparition
    Xavier Giannoli’s The Apparition is a flawed but heartfelt film about the mysterious workings of divine grace, and things that can’t entirely be explained away.
  5. Teen Titans Go! To the Movies
    A handful of jokes in this minipop Ragnarok, like the crack at Gene Hackman’s role in the 1978 Superman, land at the exact sweet spot where fond fanboy scholarship meets sublime goofiness.
  6. Acute Misfortune
    This is an enthralling drama: the best and most interesting Australian biopic since Chopper in 2000.
  7. The Darkest Minds
    The pieces of a potential franchise are put in play here without stakes being raised or pulses quickened.
  8. I Can Only Imagine
    For all the faith-based platitudes baked into the script, it has to be conceded that directing brothers Andrew and Jon Erwin steer the ship steadily and draw out sincere and persuasive performances from Finley, who really can sing gloriously well, and Quaid, who even with a now ravaged visage is still just as dangerous, compelling and sexy as ever.
  9. Beirut
    This isn’t a particularly chancy film, unless the decision to go old school is considered such. It is still, however, quite good.
  10. The Heiresses
    Martinessi shrewdly combines subtlety, melancholy, satirical observation and candour about sex.
  11. Sgt. Stubby: An American Hero
    Stubby’s minimal anthropomorphism makes him a believably doggy sort of dog, whose expressions and behaviour clearly indicate that the animators spent many hours studying the real thing.
  12. Undertow
    What could have been a who’s-sleeping-with-who, tangled-web-we-weave drama quickly evolves into something much more compelling as Nation blurs the line between thriller, psychological drama and character study.
  13. Dog Days
    There’s really not much for the humans to do, other than flash brilliant white smiles, making the film feel like the world’s longest toothpaste advert. And it’s a toothbrush you’ll be reaching for after all so much sugary sentimentality.
  14. Under the Tree
    Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.
  15. Leaning Into the Wind
    A friend who watched this with me said that it’s the kind of film she’d like to see again when she’s dying. That pretty much nails its meditative, melancholy tone and suits the kind of work Goldsworthy does, which is all about the ephemeral and the enduring; time and the tactile qualities of the instant.
  16. The Festival
    Very soon, O’Doherty will be the headline act in comedies like these, but this good-natured crowdpleaser generously lets her steal whole stretches.
    • 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.
  18. Skate Kitchen
    Moselle is at her most astute when concentrating on the fragile social dynamics that govern the tribes adolescents divide themselves into for survival’s sake.
  19. The Meg
    If the shark-versus-Statham bout doesn’t tickle you, the shark-versus-Pekinese sidebar might. Not quite killer, but it’s rare to see a 21st-century blockbuster having this much fun – right through to its sign-off – with its own premise.
  20. The Spy Gone North
    Yoon executes all the classic double-agent set pieces with finesse, and those enamoured of the genre will appreciate a change of setting.
  21. Never Goin' Back
    Watching Never Goin’ Back, it’s easy to see the frames of reference Frizzell pulled from, besides her own teenage escapades. But the film also defies easy categorization; it’s not consistently funny enough to be a comedy, nor lively enough to be a drama.
  22. Like Father
    It’s an undemanding watch, easily digestible while on in the background, but even easier to forget.
  23. Extinction
    Extinction is a competent, if formulaic film. Its dilemma, like many of the films in Netflix’s growing sci-fi catalogue, is the way its best parts are subdued on the small screen while its worst (dialogue and clunky storytelling) are enhanced.
  24. Puzzle
    There is modest craft and genuine heart here, not to mention an eye-catching centrepiece: an actor growing more certain of herself, and more capable than ever of holding an entire picture together – even one as unusual, and sometimes as unlikely, as this.
  25. Cocote
    It is a film with its own miasma of unease.
  26. Detective Dee: The Four Heavenly Kings
    Dee’s investigations are not truly suspenseful, or governed by much hard logic. Without these, what remains is a restless action-comedy with a few nice reversals.
  27. McQueen
    [A] sombre, thorough, intelligent and informative documentary.
  28. Unfriended: Dark Web
    Even if some of the late-stage plotting seems sloppy and increasingly preposterous, there’s a callousness to the brutal last act that, together with the far patchier, yet similarly hard-edged First Purge, feels like a definite product of the time we’re in, as war on terror-era torture porn did in the mid-2000s.
  29. Maquia: When the Promised Flower Blooms
    It is a poignant set-up but, disappointingly, Okada’s ideas about motherhood don’t cut as deep as they could.
  30. The Equalizer 2
    The Equalizer pictures operate under a false moral imperative, using the mission of cleaning up the streets as a cover for the same pat hyper-stylized, near-pornographic brutality.
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