The Guardian's Scores

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:
6556 movie reviews
  1. Everything in it – every frame, every image, every joke, every performance – gets a gasp of excitement.
  2. The film is an enormously satisfying and affecting experience.
  3. It struggles to feel at all like a genuine story.
  4. Cruz brings gall, spite and passion to the role of Laura, but there’s not much for Woodley to do in the thankless role of Lina. And Driver is a remote and unengaging paterfamilias. But no one could doubt the style with which Mann stages those race scenes, with their danger and horror.
  5. This is another powerful addition to Larraín’s movies about the ongoing agony of Chile, and the Chilean people’s struggle to confront the past, armed with the hammer and the sharpened stake.
  6. De Angelis offers some muscular film-making, with decent action sequences.
  7. Depardieu brings his natural charisma and watchful presence to the role, and he can bring off Maigret’s air of worldly, tolerant bemusement and distaste at the transparently guilty people he comes across.
  8. In Passages the sex is the plot: the plot of all our lives.
  9. This is just a dull and badly acted movie.
  10. Cobwebbed would be more accurate, perhaps: every detail is secondhand, if not downright hoary.
  11. It’s an intimate portrait combined with increasingly shocking footage as his opposition movement comes under attack.
  12. Like McCall, [Washington] knows his tools, an arsenal not of guns and blades but of withering stares and crumpled smiles. It’s almost enough to outshine everything else.
  13. The bar was low after the first, a half-assed waste of actors who deserve better, but the sequel is somehow even worse, a maddeningly unfunny string of bad decisions, the worst of which was deciding to make it in the first place.
  14. It’s both amiable and original enough to distinguish itself from the slush pile of youth-appealing Netflix content. Couple that with a moving finale on the supreme joys of best friendship, and that’s reason to celebrate.
    • 70 Metascore
    • 80 Critic Score
    It’s a zippy 90 minutes or so, and packed with jokes. Gordon is note perfect as Rebecca-Diane, the camp’s folksy music teacher.
  15. It’s a broad, enjoyable, lighthearted movie with a fair few not-insignificant plot holes, but a genuinely surprising storyline that keeps you guessing to the end.
  16. What follows is a race against the clock, cleverly constructed by director Maximilian Erlenwein and co-writer Joachim Hedén. Their script throws in plenty of calamities to nobble the diver’s escape, but didn’t quite manage – for me at least – to spark a vertiginous clammy terror.
  17. It all hangs together and the final shot rounds it off nicely enough.
  18. Fleshed out in 3D animation, the action – feinting, pivoting and occasionally soaring high above the stands – feels resplendently immediate.
  19. The gentleness of the connection between Jason and Georgie gives Scrapper its warmth. Just hanging out together on camera is much more difficult than it looks, and Dickinson and Campbell manage it well. Regan looks like a very impressive and capable movie talent.
  20. It is an entirely outrageous film with a lot of bad-taste laughs along the way, and a bizarrely real dramatic impact when Reggie finally confronts Doug in the horrendous finale.
  21. The latest in a 10,000-mile-long line of adaptations of Journey to the West, the 16th-century Chinese novel attributed to Wu Cheng’en, bounces along energetically, and has some exceptionally fun frills around the edges, such as a flouncy vocal performance from Bowen Yang as spiteful, effete baddie the Dragon King, who gets to sing the film’s best musical number.
  22. You Hurt My Feelings is a movie about emotional pain, and there is something very astringent in it, a salty tang which isn’t really effaced by the later plot transitions whose emollient message is that we all fib a bit to our loved ones and it doesn’t mean we love them any the less.
  23. But there’s a perkiness that’s hard to resist and a base-level competency that’s hard not to appreciate, a small beam of blue light in an otherwise dark time for superheroes.
  24. Some of the storytelling gets clotted, leaning too much on the girls shrilly screaming at each other. Bad Things, though, is sharply filmed, with cinematographer Grant Greenberg feng-shuiing the hotel spaces into tone-setting tableaux (with a touch of Twin Peaks’ kitsch).
  25. It’s ultimately a doomed voyage: for the crew, for the audience and for Universal’s monster movie strategy at large.
  26. Red, White and Royal Blue just isn’t the fun, brain-disengaged romp it could have been, any praise going toward intention rather then execution.
  27. Gal Gadot leads the streamer’s latest ambitious franchise-starter that delivers just about enough dumb summer fun to have us curious for more.
  28. Commerce contaminates the whole endeavour.
  29. Despite beings shaky in terms of tone – as well with its occasionally obtrusive handheld camera movements – Lola impresses with its refreshing blend of analogue and digital flourishes.

Top Trailers