The Guardian's Scores

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For 6,556 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 6556
  2. Mixed: 3,756 out of 6556
  3. Negative: 319 out of 6556
6556 movie reviews
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  1. Subservience
    If only the film were a little bit smarter and less predictable, it might have had a chance of becoming a cult classic.
  2. The 4:30 Movie
    By far the best thing in the film is Ken Jeong as the theatre manager, preening and ridiculous, dispensing putdowns with surgically precise comic timing.
  3. Reawakening
    Though a little mannered, the film has intelligence and force.
  4. In Camera
    In Camera is the kind of ambitious intelligent cinema that invites your most mulled-over theories. It will exasperate some; others will be engrossed by an intriguing movie.
  5. Betrayal
    The suspense-building and denouement are adequate enough, but what makes this more interesting is how director Rodger Griffiths weaves in a subtle dissection of how abuse can damage families in different ways.
  6. The Last Showgirl
    The commentary on gender and age feels easy and unspecific and the world of the Vegas showgirl created from too great of a distance to really ring true.
  7. Eden
    It’s all too silly and the writing too hokey for us to keep up and by the end, truly care about who survives or not.
  8. The Vourdalak
    A delirious and oddly agreeable stopover.
  9. Place of Bones
    It’s pretty evident that this is a fairly low-budget film, with that faint sense of hired costumes about the western gear. But it’s entertaining enough and keeps you guessing.
  10. Hard Truths
    Hard Truths is a deeply sober, sombre, compassionate drama about a black British family, with flashes of fun and happiness that are emollient if not exactly redemptive.
  11. April
    It is a deeply unsettling meditation on sexuality and transgression.
  12. Winner
    As far as zeitgeisty nonfiction goes, Winner is one of the better ones, at once entertaining and illuminative.
  13. Nutcrackers
    The more accomplished the film-making becomes, the more we then expect the script to level up too.
  14. And Their Children After Them
    Class and racial tensions come to the boil in this potent tale of disaffected youth in smalltown France.
  15. The Front Room
    The Front Room does capture one delicious, rich truth: hell hath no fury like a mother-in-law scorned.
  16. Damaged
    Damaged isn’t trying to be a meme, it’s playing things completely straight, and trying to be a serious police procedural in the vein of 90s thrillers such as Se7en or Primal Fear. That sincerity, and the apparent genuine commitment of top-tier performers like Jackson, is what makes this ripely absurd film at least half-worth watching.
  17. The Brutalist
    This is a film with thrilling directness and storytelling force, a movie that fills its widescreen and three-and-a half-hour running time with absolute certainty and ease, as well as glorious amplitude, clarity and even simplicity – and yet also with something darkly mysterious and uncanny to be divined in its handsome shape.
  18. Apollo 13: Survival
    Middleton’s film makes the case for remembering the Apollo 13 mission in all its mundane, dated, precise details – a real, rare and breathtaking tale of survival and ingenuity, clearly and painstakingly told.
  19. Joker: Folie à Deux
    Though it ends up as strident, laborious and often flat-out tedious as the first film, there’s an improvement.
  20. Rebel Ridge
    There’s such electricity to Rebel Ridge – I just hope enough people get the chance to feel it.
  21. Queer
    Craig is so dominant that sometimes it seems that Gene is almost not worthy of him. Craig is strangely magnificent.
  22. Red Rooms
    A lead performance of pure sociopathic intensity is what makes this serial-killer horror stand out.
  23. My First Film
    You can’t help but admire Anger’s audacity, sly humour and film-making chops.
  24. I'm Still Here
    Salles’s imperfect, hobbled film tells us that hope springs eternal and that joy is a given and that most happy families will find a way to survive.
  25. Wolfs
    The film itself never amounts to much more than a silly, self-satisfied crime caper, but the headline stars look as though they are enjoying themselves and their sense of fun, by and large, is infectious.
  26. Night Courier
    I didn’t feel the movie maintained the dramatic tension enough to work as a lean thriller, but as a portrait of a toxic man who thinks he could be a contender it’s funny and disturbing, with an impressive lead performance by Aldokhei.
  27. And Mrs
    The upside to casting Bea in a comedy is that she’s an absolute hoot. When Hollywood stars play ordinary civilians, there’s often a slumming-it quality to their performances, but Bea is funny and real, sarky and very likable as Gemma, who’s feeling guilty after Nathan dies.
  28. AfrAId
    It’s too sloppily written and edited for even the least discerning of horror fans to really enjoy, a patchwork of nonsense confusingly stitched together by someone, who at one point, knew better.
  29. Kill the Jockey
    It’s too skimpy and self-conscious, more a series of gestures than an organic whole. But Ortega frames his action with a delicious high style, interspersing tense standoffs with formal dance sequences. He gives the impression that all his characters are locked in a bizarre hothouse romance, even when they are chasing or attempting to kill one another.
  30. Touch
    If we’re nitpicking it’s fair to say that neither of the couple’s interior lives are as fully fleshed out as would be permitted in a novel, but maybe they don’t have to be: they function as avatars for romantic hopes and dreams as much as anything, delivering all the vicarious pleasure and pain that we’re looking for when we tuck into a good romance
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