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. Lover for a Day
    This brief, winsome feature is a typically stylish, if ephemeral piece of work in the classic New Wave manner – almost a time capsule.
  2. Step Sisters
    For all its topicality, Step Sisters is a bit underwhelming, although it makes for entertaining lite fare in the vein of Pitch Perfect or Bring It On, and the choreography is first-rate.
  3. The Banishment
    There is an outstanding film somewhere inside this sprawling mass of ideas, which might have been shaped more exactingly in the edit.
    • 35 Metascore
    • 40 Critic Score
    Proud Mary
    The makers of Proud Mary don’t know what to do with their terrific ensemble cast. Henson may be due for a Taken-style career boost (and Proud Mary may very well be it). But she deserves so much better than this.
  5. The Commuter
    Perhaps you can’t ask too much from a modest, mid-range crowd-pleaser like this, but the experience ends up something like a commuter service itself: you know where it’s going and it gets you there perfectly well, but in a few years’ time you’d be hard pressed to distinguish it from dozens of similar journeys.
  6. Walk with Me
    The film has some startling moments.
  7. Brad's Status
    It is an introspective and downbeat film, but forceful and personal, with excruciating and all-too-real moments of mortification. And it can be weirdly moving, almost out of nowhere.
  8. Bright
    For all its flaws, Bright is still a headlong leap into a bracingly different new world. Cinema could do with more of that.
  9. The Greatest Showman
    It’s not a film to break moulds or test boundaries. Yet Jackman’s real charm will carry you along.
  10. All the Money in the World
    All The Money In The World is not perfect; there is a touch of naïveté and stereotyping in its depiction of the malign Italians with their one, redemptive nice-guy gangster. But with the help of Plummer’s tremendous villain-autocrat performance, Ridley Scott gives us a very entertaining parable about money and what it can’t buy.
  11. Pitch Perfect 3
    So many movies end with trite sentiments about “family” and “sisterhood” but it doesn’t feel forced here. It looks like these performers are genuinely enjoying themselves, and it’s infectious.
  12. Antiporno
    Antiporno has a kind of energy, but is also shallow and frantic.
  13. Ethel & Ernest
    It’s an engaging film, but it leaves you with a feeling that there might be a deeper, darker, more specific story yet to be told.
  14. Star Wars: Episode VIII - The Last Jedi
    The Last Jedi gives you an explosive sugar rush of spectacle. It’s a film that buzzes with belief in itself and its own mythic universe – a euphoric certainty that I think no other movie franchise has. And there is no provisional hesitation or energy dip of the sort that might have been expected between episodes seven and nine.
  15. Miss Kiet's Children
    Miss Kiet’s Children is a lovely film.
  16. Jumanji: Welcome to the Jungle
    It’s a likeable film which borrows liberally from everything and everyone, and if it’s put together by numbers, well, then it is done capably enough.
  17. Quest
    Sadly, the problems affecting the Raineys, the African American family whose north Philadelphia home accommodates this heartening documentary, are all too familiar: poverty, drugs, gun violence.
  18. Kaleidoscope
    At its best, Kaleidoscope is like an unsettling dream featuring an Escher staircase that plunges infinitely and vertiginously downwards.
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