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. The Count of Monte Cristo
    The pay-off is a fast-moving, good-looking gallop of Mission: Impossible-style mask play, languorous conniving in courtyards and occasional outbreaks of derring-do that chews up three hours without pausing for quail sandwiches.
  2. Beetlejuice Beetlejuice
    It’s a likable exercise in nostalgia; a joyride through old haunts. Burton’s underworld caper contains plenty of second-hand spirit; what it craves is fresh blood. What it needs is some substance.
  3. Paradise Is Burning
    Like an unusually designed coat featuring quirky details and an interesting fabric choice from a young designer’s first collection, Swedish writer-director Mika Gustafson’s feature debut has raw edges and some sloppy stitching in places, but the whole is fresh, directional and beautifully cut.
  4. Black Dog
    Its heartwarming aspect comes framed with real grandeur, and a stark absurdism and tightly wound sentimentality reminiscent at times of Takeshi Kitano.
  5. The Mountain Within Me
    And in terms of docs about people with disabilities, this one is pretty honest about the mental anguish of losing mobility and – in a sideways fashion – addresses how such a change particularly affects men like Ed and Ben, hyper-masculine dudes whose identities are tied to their physical abilities.
  6. The Killer
    It humbly presents the optional but delightful spectacle of watching John Woo have fun again.
  7. Incoming
    The Chernins are savvy enough to not wrap the whole thing in a neat “just be yourself” bow in the end, but Incoming could have worn a little more of its heart on its sleeve.
  8. Caligula: The Ultimate Cut
    It all makes for something startling, amusing and bizarre.
  9. Swan Song
    By the end, ballet as practised here does indeed look a bit punk rock.
  10. Cadejo Blanco
    The tension leaks away in the second half; the film could have done with being snipped by a good 20 minutes.
  11. The Supremes at Earl's All-You-Can-Eat
    This is erratic storytelling, like a bunch of detached sketches and monologues, that leaves The Supremes at Earl’s All-You-Can-Eat making gestures towards the movie that it never really becomes. Let’s just hope we can see that movie some day.
  12. The Crow
    It’s genuinely startling just how utterly wretched the finished product is and how unfit it is for a wide release.
  13. Kneecap
    The film really comes to life in the actual hip-hop scenes; the musical sequences have originality, comedy and freedom. The rest of the time, the film looks worryingly like a late 90s-early 00s cool Britannia geezer-gangster romp.
  14. Blink Twice
    It’s about misogyny and abuse and memory and materialism and gender performance and many other things that would be a spoiler to mention. It’s therefore less of a plate and more of a buffet, and while it might be beautifully served, it’s a film about excess that suffers from it too, a case of too much leaving us with too little.
  15. Hell Hole
    Existing as a labour of love isn’t enough by itself to earn any film a pass mark, but when the result is a committed piece of indie genre work with a suitably silly sense of the macabre, this gets the job done.
  16. Widow Clicquot
    It’s not quite the full grand cru period drama from the Merchant Ivory vintage, but rather a semi-sparkling biopic.
  17. Sing Sing
    Sing Sing isn’t just telling an uplifting story. The story of its own making is uplifting.
  18. Faye
    Faye isn’t an exposé. It’s a misty-eyed homage made in collaboration with its subject – and one that relies too heavily on allusion and inference to be truly candid or revelatory.
  19. Between the Temples
    For all the characters’ misery and misfires, Between the Temples is a winsome journey. It’s a little weird, a little sweet and a lot of awkward – a testament not just to the Jewish tradition but the faith we can learn to have in each other.
  20. The Deliverance
    This film is covered in a thick ectoplasm of disappointment.
  21. The Union
    The mood is light, the stunts impressive and, mercifully, the film is not nearly as cheap-looking nor dull as Netflix brethren such as The Man from Toronto or Lift.
  22. Elizabeth Taylor: The Lost Tapes
    However partial, though, and however little new material it has to offer, even for the amateur fan like me, the film remains a heady treat. Because it is about Elizabeth Taylor. They don’t make them like they used to – and they probably never will again.
  23. Alien: Romulus
    The resulting movie is a technically competent piece of work; but no matter how ingenious its references to the first film (let down, however, by borrowings from the A Quiet Place franchise) it has to be said that there’s a fundamental lack of originality here which makes it frustrating.
  24. Jackpot!
    Despite the action-comedy bona fides of director Paul Feig, helmer of the far more entertaining Bridesmaids and Spy, and the comedic chops of Awkwafina and John Cena, Jackpot! is an unsteady balance of dark and light, a tinny and discordant mishmash of stunts, ridiculous characters, ludicrous stakes and attempts at zeitgeist.
  25. Only the River Flows
    This film is an intriguing and well-made diversion, a puzzle whose missing pieces make a disquieting pattern.
  26. Borderlands
    With its juvenile humor, fast pace and shaky handle on grownup feelings, Borderlands winds up resembling nothing so much as a children’s film that’s too violent for children to actually watch.
  27. Tuesday
    As for Louis-Dreyfus, she is very good in the way that only she can be: intelligent, sensitive, focused and intense, hitting the line-readings with percussive force. How overwhelming it might have been to see her and Petticrew play this story without the indie high-concept bird.
  28. It Ends with Us
    The life lessons being taught here about self-acceptance, self-love and self-worth might be a little pat and some of the darker elements could have afforded a tad more darkness, but It Ends with Us leads with heart first, everything else later. It’s a film of huge, sometimes hugely unsubtle, emotion but it has an effectively forceful sweep to it.
  29. Duchess
    Marshall goes big on the use of freeze-frames, onscreen graphics deployed when introducing characters, and wink-wink meta jokes, all of which feel pretty tired and early noughties British crime drama by this point.
  30. Radical
    Despite those based-on-a-true-story bona fides, the script is taut as piano wire, strings of inciting incidents strung like steel cables between concrete coincidences, ironies and tragedy.
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