The Guardian's Scores

Select another publication »
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
view
per page
  1. Dumb Money
    It’s perilously close to being overstuffed (one more introduction would have tipped it over the edge) but a controlled and nimble script justifies the large ensemble, using each thread to quickly switch back and forth between the anger, ecstasy, disbelief and fear that seeped from conference to dorm room at the time.
  2. Dicks: The Musical
    Every second Mullally and Lane spend onscreen should be preserved in the library of Congress so that future generations of thespians might learn from their example.
  3. Green Border
    Green Border is a tough watch: a punch to the solar plexus. But a vital bearing of cinematic witness to what is happening in Europe right now.
  4. Finally Dawn
    Not a terribly profound film, but delivered with real brio.
  5. Jawan
    A star vehicle that functions like a runaway train, Jawan covers a lot of ground in surprising fashion at full throttle – but that’s also a polite way of admitting it’s utterly all over the place.
  6. Sitting in Bars with Cake
    Sitting in Bars with Cake careens from zany bar-hopping to hospital, cake baking ASMR to cancer weepie. You could argue that that’s life itself – a lot of chaos, bathos amid the profound – but that’s giving too much credit to the film’s murkier, underdeveloped bits. Still, it has a lasting bittersweetness to it.
  7. The Boy and the Heron
    The Boy and the Heron is a gentler and slower though no less soulful addition to his canon.
  8. My Big Fat Greek Wedding 3
    Its brief, brushed-off moments of anti-levity stand out, maybe because as a director, Vardalos does not have the comic touch required to provide the escapist distraction the movie is going for.
  9. The Nun II
    In neglecting to vary her routine, she is not unlike the film-makers behind this ninth visit to the Conjuring universe – although “universe” is a misleadingly large word for a franchise that is impoverished in all but its box-office gross.
  10. DogMan
    I’m sure there’s a way to make this theoretically fun premise work better, but regrettably Besson hasn’t found it.
  11. Coup de Chance
    The strong, credible performances oil the wheels during these clattering shifts of gear and serve to distract from its occasional moments of implausibility.
  12. Evil Does Not Exist
    It’s a complex drama, a realist film teetering on the edge of the uncanny, whose very title points the way towards the idea that there are shades of grey in every judgment we make.
  13. Origin
    The result is a film with urgency and heartfelt sympathy, but one which I couldn’t help thinking may have been better served as a documentary to focus more directly on the issues involved.
  14. A Life on the Farm
    The documentary’s director, Oscar Harding, explains that his grandfather was a neighbour of Carson’s in the wonderfully named village of Huish Champflower, and he was first shown A Life on the Farm age six. Stretching this curiosity of a man and his work into a full-length documentary is perhaps pushing it.
  15. Blood Flower
    As Blood Flower trudges towards its conclusion, the film turns out to be a lacklustre trauma-as-plot horror.
  16. Sympathy for the Devil
    If you were programming a season of the best of the worst from Nicolas Cage’s filmography – in other words, his most interesting/outlandish/crazed performances in low-budget films – this kooky thriller would certainly be a good candidate.
  17. Past Lives
    This heart-meltingly romantic and sad movie from Korean-Canadian dramatist and filmmaker Celine Song left me wrung out and empty and weirdly euphoric, as if I’d lived through an 18-month affair in the course of an hour and three-quarters.
  18. Hit Man
    Richard Linklater’s latest is a jaunty action comedy that spins its machine-tooled high concept like a bicycle wheel – sometimes with shrewd intent, sometimes for pure fun.
  19. The Beast
    The Beast may not add up to a cogent or thoroughgoing critique of all the ideas it invokes, but it’s such a luxurious cinematic experience; it’s created with such elan and attack, and the musical score amplifies its throb of fear.
  20. Man on the Run
    Interviews with various journalists, local law enforcers, politicians and FBI agents lay out the nitty-gritty of the story. Lashings of onscreen text spell out the statistics and figures, which is helpful. The caricatures of the various grifters are distractingly tacky, though, and somewhat lower the film’s tone.
  21. Kick Out!: The Newtown Neurotics Story
    Here’s a fascinating time-capsule of a documentary about an admittedly niche-interest band who achieved their most valuable cultural currency during the politically-charged 1980s, and who achieved a subsequent second act that achieves considerable emotional heft.
  22. Dalíland
    The cleverness of Kingsley’s performance is the twinkle in his eye that leaves you wondering whether Dalí has disappeared entirely up his own myth. How much of the eccentricity is a put-on, brazen self-publicity to maximise sales? Disappointingly, the script invents a fictional art school dropout to be our guide to Dalí’s universe.
  23. Once Upon a Time in Uganda
    It’s nice to see the old tension between selling out and staying pure never goes away in any corner of the film-making world.
  24. Swing and Sway
    Pessoa and Barbosa’s earnestness shines through. Swing and Sway may be a visually and politically derivative work, but it also serves as a beguiling pandemic time capsule.
  25. Outpost
    Initially performed with a slightly incongruous general chirpiness, the film then blazes over the top into a cartoonish frenzy. But otherwise it’s a well-conceived disintegration, with clear sight of the terrain, both outer and inner.
  26. No More Bets
    It is a shame that either Chinese authorities had a word, or producers decided to aim for brownie points by fitting No More Bets out as an anti-fraud public-messaging spot – because Ao Shen’s thriller is otherwise a snappily directed and intriguing entrée to the industry of online deception.
  27. Good Boy
    Both leads are good, but the ultra-controlled Løkke – with his poster-boy looks and too-timely smiles – is pivotal to stringing out the farce.
  28. Priscilla
    Coppola’s portrait is absorbing, especially in Priscilla’s child phase, and if it is less distinctive in its final section, as Priscilla becomes more briskly disillusioned and realistic about what to expect, then that is to be expected.
  29. The Killer
    It is all entertainingly absurd and yet the pure conviction and deadpan focus that Fassbender and Fincher bring to this ballet of anonymous professionalism makes it very enjoyable. And there are moments when the veneer of realism is disquieting.
  30. Maestro
    In the end, Cooper’s Maestro succeeds because it is candid about the sacrifices which art demands of its practitioners, and the sacrifices these practitioners demand of their families and partners
Page:

Top Trailers

See all »
See all trailers »