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 Happy Prince
    This film is a deeply felt, tremendously acted tribute to courage.
  2. Loving Pablo
    The film places a greater focus on the notion of unwilling complicity than most in the gangster genre, but still struggles to produce much original insight.
  3. Colette
    Wash Westmoreland’s Colette is exhilarating, funny, inspiring and (remember: corsets!) gorgeous, too.
  4. The Children Act
    The Children Act is concerned with love, intimacy and moral responsibility and it is refreshing to see a movie which sets itself standards of this sort. But there is also something a little too neat in the way all these things are wrapped up. Emma Thompson’s performance, so elegant and vulnerable, carries the picture.
  5. Lizzie
    [A] gripping, well-acted and sharply-written low-budget drama.
  6. Museo
    Museum is an oddly genial, garrulous film in many ways – rather like Güeros – and it doesn’t behave quite like a heist thriller, nor exactly like a coming-of-age comedy.
  7. Juliet, Naked
    It’s unfortunate that Byrne’s offering such a tremendous performance in a film that is, to put it as bluntly as possible, so very dumb.
  8. A Prayer Before Dawn
    No one would accuse it of breaking new ground, or finding fascinating new paths across its well-worn prison yard. But Sauvaire’s drama is lean and trim and unwavering in its task.
  9. The Miseducation of Cameron Post
    This is a gripping and sad drama that puts a tremendous amount of faith in its performers and audience, and for all the emotion and tenderness in the rest of this year’s Sundance crop, this is the first film that left me a complete broken-down mess by the end.
  10. The Third Murder
    The Third Murder is a captivating puzzle.
    • 74 Metascore
    • 60 Critic Score
    Robin Williams: Come Inside My Mind
    This desire to pull punches in presenting his darker side beyond occasional lip service makes for a viewing experience where we often feel we aren’t getting the whole picture for fear of offending the recently deceased.
  12. Sorry to Bother You
    Despite being about serious matters (labor relations, systematic oppression, racial microaggressions), Sorry to Bother You is slight and raggedy, but when it leans into its surreal, midnight movie instincts it proves engaging and amusing.
  13. Dark River
    Wilson and Stanley are both excellent performers and they are the mainstays of a valuable piece of work, but I felt the ending was contrived and a bit grandiloquent. However, the visual style and fluency of the film are obvious.
  14. Damsel
    Damsel doesn’t go quite where we think it will, but then, surprise detours are rather to be expected in this kind of anti-quest story, and the film sometimes comes across – for all its grotesque, scabrous or surreal touches – as a little more benign than it might have been.
  15. The Catcher Was a Spy
    The film isn’t a home run, but with Rudd in the lead in something so out of the ordinary for him, it’s fair to call a ground rule double.
  16. The Tale
    I want more people to see The Tale because it’s such an innovative, honest and important film. It is a landmark, and Laura Dern is absolutely extraordinary. But I know for certain I’ll never watch it again.
  17. Mary Shelley
    Shelley’s mistreatment by the literary elite because of her gender is a compelling, uniquely frustrating element and the film deprives us of the suitably grand exploration that it deserves.
  18. First Reformed
    First Reformed is a deeply felt, deeply thought picture; impressive in its seriousness and often gripping in the way it frames itself as a debate and a sermon.
  19. On Chesil Beach
    It is a tender and valuable film, well acted, with a shrewd eye for how naive you can be in your early 20s, how impatient, how pompous, how tragicomically un-self-aware.
  20. Disobedience
    This is richly satisfying and powerfully acted work.
  21. Borg vs. McEnroe
    This tennis film feels like a two-hour baseline rally, and it’s not just the rackets that are made of wood.
  22. Zama
    [Martel's] film is haunted, haunting and admittedly prone to the occasional longueur insofar as it runs to its own peculiar rhythm; maybe even its own primal logic.
  23. Lean on Pete
    Lean on Pete is at its potent, stirring best during the opening furlough, when it focuses on this makeshift hobo family as it criss-crosses the Pacific Northwest from one racetrack to the next.
  24. The Death of Stalin
    The Death Of Stalin is superbly cast, and acted with icy and ruthless force by an A-list lineup. There are no weak links. Each has a plum role; each squeezes every gorgeous horrible drop.
  25. Mom and Dad
    This is an unrepentant midnight movie, dirty and violent and best enjoyed with a steady supply of alcohol.
  26. Film Stars Don't Die in Liverpool
    It’s a beguiling story and Bell and Bening are tremendous as the star-crossed lovers.
  27. Hostiles
    A flawed, but interesting drama.
  28. Foxtrot
    A nightmarish triptych of loss, waste and grief that is nonetheless arranged with such visionary boldness that it dares us to look away.
  29. I, Tonya
    This is a broad, frequently cartoonish romp that plays like a less effective mishmash of To Die For and Fargo. The blunt, unashamed crudeness does provide some laughs but the tonal shifts are often uncomfortably handled.
  30. Brawl in Cell Block 99
    Zahler’s film is entertaining, incorrigible and borderline incoherent – it is the violent drunk at the party, liable to lash out.
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