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. Amanda Knox
    It’s a carefully balanced and frightening film with Knox a terrifyingly unknowable character at the grisly centre.
  2. Grand Central
    Some critics have expressed reservations about melodrama and overworked symbolism, but I found it gripping, with an edge of delirium.
  3. The Untamed
    In all honesty The Untamed doesn’t seem to go anywhere special. But connoisseurs of oddness may cherish it.
  4. A United Kingdom
    Maybe any biopic risks naïveté in suggesting the agony of postwar Africa can be soothed by a love story about a handsome prince. But this movie has candour, heartfelt self-belief, and an unfashionable conviction that love conquers all - though not immediately.
  5. Their Finest
    At its core, it’s really just a workplace love story that grows increasingly uninterested in its plucky heroine’s journey in favour of hitting familiar rom-com notes – and to give audiences another reason to love Bill Nighy.
  6. The Secret Scripture
    Sheridan’s take on the material is solidly made but sorely lacking in subtlety.
  7. Queen of Katwe
    For what is, in essence, a by-numbers Disney sports flick, there’s endless freshness and vivacity to Mira Nair’s picture – her best in years.
  8. The Promise
    There’s something rather dusty about The Promise as George pushes his characters through a string of soapy machinations that feel incredibly familiar.
  9. My Entire High School Sinking Into the Sea
    At a tight 72 minutes, the film is a quick and dazzling burst of pleasure, pulling together so many opposing visuals, ideas and genres and coming up with something dazzling as a result.
  10. I Called Him Morgan
    Kasper Collin’s I Called Him Morgan isn’t just the greatest jazz documentary since Let’s Get Lost, it’s a documentary-as-jazz.
  11. Frantz
    Ozon is often at his best when working with women, and he has a fabulous talent in Paula Beer to bring his protagonist, Anna, to vivid life. She’s stunning in the role.
  12. Denial
    Under the workmanlike direction of Mick Jackson (The Bodyguard), what should have been a rousing and ragingly topical crowdpleaser, instead feels more like a Lifetime movie.
  13. Colossal
    Given the bizarro conceit, there’s something surprisingly, and frustratingly, safe about the film.
  14. Catfight
    This odd, nasty yet rather funny little film tears apart ideas of sisterhood and female friendship and replaces them with burning hate and gratuitous violence.
  15. Carrie Pilby
    Carrie Pilby the film is 100% Carrie Pilby the character, a living quirk machine that in a lesser actor’s hands might be insufferable.
  16. Lion
    Thanks largely to an affecting performance from newcomer Sunny Pawar, the first act is horribly effective.
  17. Jackie
    It’s a singular vision from an uncompromising director that happens to be about one of the most famous women in American history. Jackie is not Oscar bait – it’s great cinema.
  18. Una
    Mara and Mendelsohn have a compellingly toxic chemistry together and their initial confrontation is intriguingly tense. But once we’re locked into the meat of the story, the film has nowhere else to go, at least anywhere that’s of interest and the pace becomes laborious as their discussions turn repetitive.
  19. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Gere’s commitment to the role almost makes up for the film’s flaws.
  20. Justin Timberlake + the Tennessee Kids
    As Jonathan Demme’s concert documentary Justin Timberlake + the Tennessee Kids indisputably shows, Timberlake is only truly in his element when on stage being a showman.
  21. Barry
    The movie is rich on its own as a character piece about the difficulties of being bi-racial, especially at the very specific location of Columbia University.
  22. Tanna
    Tanna has a warm, shimmering vitality. Like the trees and the birds, the frame feels alive.
  23. Chuck
    Falardeau draws exceptional character work from his cast.
  24. Deepwater Horizon
    When all hell breaks loose, Berg stages the action horribly well, capturing the panic and gruesome mayhem without the film ever feeling exploitative. It’s spectacularly constructed, yet it doesn’t forget about the loss of life, ensuring that, despite thin characterisation, the impact is felt.
  25. American Pastoral
    What we have on our hands is a dud, but there are a few grace notes that save it from being an unmitigated disaster.
  26. All I See Is You
    Even as All I See Is You descends into soapy nonsense, it remains visually engaging.
  27. The Assignment
    Every single decision made by Hill is bad.
  28. Sing
    God, it’s so obnoxious. And the worst thing is that it works. I was smiling and applauding at the end, then I had to take a long walk alone to wonder what was wrong with me.
  29. Blair Witch
    If The Blair Witch Project signalled a new dawn of horror, Blair Witch is the loud death rattle of a once exciting sub-genre, disappearing into the darkness.
  30. A Monster Calls
    Ultimately, it tries a little too hard to wring those tears.
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