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. War Blade
    This pointless, aimless mission is expedited by the usual logic-slips, like inexplicably letting fanatical SS officers escape when you have them at your mercy.
  2. One More Shot
    More than a little suspension of disbelief is required and, increasingly, I felt as if I was watching a video game. It’s a movie with a fairly low IQ too – violent, boring and a bit soulless, always on the edge of running out of steam from the 45 minute mark.
  3. Destroy All Neighbors
    At 85 minutes, Destroy All Neighbors gets a little indulgent, and the plot, as William finds his creative mojo in the company of his newly acquired ghoulish ensemble, is throwaway. But it’s a gleeful lo-fi rampage all the same.
  4. The Disappearance of Shere Hite
    If this documentary doesn’t make Hite a household name among a new generation of feminists, the biopic that should really follow it certainly will.
  5. Night Swim
    Kerry Condon follows up her Oscar nomination with a thankless piece of Blumhouse schlock that tries, and fails, to make swimming pools scary.
  6. The President’s Wife
    It all tootles along inconsequentially enough, like a daytime soap about nothing very much in particular; all the supposedly important things feel negligible in terms of political or emotional weight.
  7. Good Grief
    There is a strenuous earnestness here, which is made to coexist with entirely artificial romcom dialogue of a kind not spoken by real human beings.
  8. Scala!!!
    A very entertaining madeleine for movie-going of the analogue age.
  9. Lord of Misrule
    The film’s best decision is to cast the great Ralph Ineson as an ambiguous local figure of note. With his basso profundo rumble of a voice and air of rough-hewn potency, he’s always a striking figure on stage and screen.
  10. Raging Grace
    It generally feels secondhand, though the final musical scene has an authenticity and heart that the rest lacks.
  11. The Goldfinger
    Leung Chiu-wai has a predatory glint behind the salesman’s grin, and Lau has the beaten look of a man bested for much of the movie. What’s really missing is a Leung/Lau face off, an epic confrontation.
  12. One Life
    It was a goofy, almost silly caper which could have gone wrong or turned out to be misjudged; instead it was a moment of secular grace, like something from a late Shakespeare play. The film does justice to this overwhelmingly moving event in British public life in a quietly affecting drama.
  13. Miranda's Victim
    Building in power and finesse, Danner oversees a very satisfying dialectical dustup.
  14. Jules
    This is a sentimental and folksy film, and the ending is a little garbled, but there is a gentleness and sweetness there, and Kingsley carries it off very well.
  15. Aquaman And The Lost Kingdom
    The Aquaman franchise is just flatlining, floating through the dreary depths like the kind of discarded plastic bag which is going to choke the last remaining vaquita porpoise.
  16. Anyone But You
    The pair never convincingly hate or even mildly dislike each other, there’s no bite there, it’s more like watching a happy couple playfully rag on each other for an audience and we’re never given enough of a reason as to why they wouldn’t be together from the outset.
  17. The Boy and the Heron
    The Boy and the Heron is a valuable new addition to this unique film-artist’s canon, about confronting a terrible sadness and finding a way to replace it with wonder and joy.
  18. Next Goal Wins
    The whole film is a little rough-and-ready in the way it’s put together, but it’s amiable and well-intentioned and the laughs are real.
  19. Simple Minds: Everything is Possible
    Both Kerr and Burchill come across as unpretentious, down to earth and likable.
  20. Society of the Snow
    This is a fervent film, heartfelt and shot with passion and sweep.
  21. The Color Purple
    This heartfelt movie-musical of The Color Purple sugars the pill and softens the blow, planing down the original’s barbed and knotty surfaces, taking away some of the shock of violence and tragedy and tilting the experience more towards female solidarity and triumph over adversity.
  22. Rebel Moon Part 1: A Child of Fire
    Going mad with power should be at the very least fun, exhilarating in the indulgence of an artist’s most outlandish whims. Instead, Snyder’s would-be magnum opus is merely boring.
  23. The Family Plan
    The script works efficiently and everyone involved sells it hard; there are continuous closeup cutaways to that cute and gurgling baby who never cries no matter what happens. But the sheer robotic sheen of the film in the end works against it.
  24. Apolonia, Apolonia
    As Sokol’s style matures, Glob’s direction also becomes visibly more assured. The meandering beginning in which the film-maker’s narration does a lot of the heavy lifting soon becomes more stylistically coherent.
  25. Godzilla Minus One
    This is not a cuddly version of Godzilla. He is rageful and entirely incomprehensible, seemingly not even motivated by hunger, desire or revenge. Like a god, he just is, an entity that has become death, the destroyer of worlds, as ineluctable as history itself.
  26. Every Body
    This is a sympathetic and very contemporary study.
  27. Monica
    This is a tremendously crafted, impeccably intelligent film.
  28. The Shift
    For every bright spot in The Shift, and every moment where it has value as a cultural curio or object of camp intrigue, you unfortunately have to sit through a fair amount of blathering on about Kevin’s mission.
  29. Animal
    Despite its obvious desire to push buttons, Animal doesn’t have the guts to actually own its transgressions.
  30. The Archies
    The whole shebang is quite bizarre but sort of works, thanks to the brisk pacing of the editing and the joie de vivre that directors Zoya Akhtar and Ryan Brophy inject into the proceedings.
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