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. Good Time
    The film has its own kind of mad, migrainey energy and individuality, and Robert Pattinson gives a strong, charismatic performance.
  2. Radiance
    A gentle, thoughtful and reflective movie.
  3. The Day After
    The Day After is an elegant exercise. It feels like a chapter from something bigger.
  4. Blade of the Immortal
    If you are going to see one outlandish and occasionally nauseating bloodbath samurai pic this year, this is the one.
  5. The Florida Project
    While minimal on plot, the film digs in its nails on the day-to-day struggles of poor people in America.
  6. The Killing of a Sacred Deer
    It’s an intriguing, disturbing, amusing twist on something which in many ways could be a conventional horror-thriller from the 1970s or 1980s, or even a bunny-boiler nightmare from the 90s.
  7. The Beguiled
    Coppola tells the story with terrific gusto and insouciant wit, tying together images from the first scene and the last, so that the narrative satisfyingly snaps shut.
  8. The Meyerowitz Stories (New and Selected)
    It’s a comedy that doesn’t really have, or aspire to, any very tragic dimension, but it’s touching. The quirks are underpinned by a heartfelt solidity.
  9. Wonderstruck
    Wonderstruck is sometimes sweet and well-intentioned, but more often indulgent and supercilious.
  10. Hounds of Love
    For horror aficionados it is unmissable. For others, so intense it might be unwatchable.
  11. Baywatch
    By about halfway in, the gags dry up and the story sinks like an overweight tourist who took a dip too early after the all-you-can-eat surf ’n’ turf buffet.
  12. War Machine
    Not funny enough to be satire, not realistic enough to count as political commentary, not exciting enough to work as a war movie, David Michôd’s supposedly Helleresque romp, released on Netflix, is an imperfect non-storm of unsuccess.
  13. Pirates of the Caribbean: Dead Men Tell No Tales
    Dead Men Tell No Tales moves at a faster rate of knots than any Pirates film; trouble is, nothing has really been added. It’s the same soggy ride, set to a marginally preferable speed.
  14. Martyrs
    What’s left after the gore is stripped away is a mildly bloody, meatless horror.
  15. Okja
    The pure energy and likability of this film make it such a pleasure.
  16. The Woman Who Left
    It’s a film you have to feel your way into, like a ruined church or a haunted house.
  17. Mindhorn
    There are such great gags, and it is acted with such fanatical gusto by Barratt that it’s impossible not to root for this unlikeliest of heroes.
  18. The Wedding Plan
    The real-time agony of the wedding day itself has an edge-of-the-seat factor, and Kooler gives a sensitive, emotionally generous performance.
  19. Two Women
    It takes time to grow on you, but for me, there is a demure watchability.
  20. Whisky Galore!
    It comes across as twee, comfy-cardigan film-making. And, Eddie Izzard’s best efforts notwithstanding, it simply isn’t very funny.
  21. King Arthur: Legend of the Sword
    Ritchie’s film is at all times over the top, crashing around its digital landscapes in all manner of beserkness, sometimes whooshing along, sometimes stuck in the odd narrative doldrum. But it is often surprisingly entertaining, and whatever clunkers he has delivered in the past, Ritchie again shows that a film-maker of his craft and energy commands attention.
  22. Absolutely Anything
    A huge amount of talent here, including Joanna Lumley and Eddie Izzard. Sadly it goes nowhere.
  23. Alien: Covenant
    The film is very capably made, with forceful, potent performances from Waterston and Fassbender. That franchise title is, however, looking increasingly wrong. It is a bit familiar.
  24. Burden
    If Burden has any fault, it’s that it is overly straight, but perhaps for a subject with which it is so difficult to relate, that is necessary.
  25. Paint It Black
    Like its distraught protagonist, Amber Tamblyn’s Paint It Black is unforgiving, flawed and ferocious.
  26. Baahubali: The Beginning
    Baahubali demonstrates the pleasing, straight-ahead simplicity of certain videogames: whenever our hero accomplishes a task, some new challenge presents itself.
  27. Baahubali 2: The Conclusion
    This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion.
  28. Suntan
    It is superbly directed and shot with great scenes.
  29. Heal the Living
    It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed.
  30. Lady Macbeth
    Cleverly, it gives us enigmatic backstory hints that may or may not help explain the sudden direction change the film takes in its third act, leading to a denouement of toxic ingenuity. And of all it driven by the sensuality and rage of Pugh’s performance.
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