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. Cocaine Bear
    Not since Snakes on a Plane has a movie promised so much, but despite a great cast the plot is too tame.
  2. Golda
    As a war movie, it’s bafflingly dull; as a political-intrigue drama, it’s lifeless; as a personal portrait of Meir, it’s inert and superficial.
    • tbd Metascore
    • 60 Critic Score
    Lonesome
    Where Teenage Kicks swung for the canon of LGBTIQ+ coming-of-age films, Lonesome is happy to be a provocative talking point, establishing Boreham as a queer film-maker unafraid of making an important or niche work.
  4. Joyland
    Joyland is such a delicate, intelligent and emotionally rich film. What a debut from Sadiq.
  5. The Survival of Kindness
    The Survival of Kindness has static elements of an art installation, a non-narrative dream state that is part arresting, part frustrating.
  6. The Strays
    British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.
  7. Disco Boy
    Italian director Giacomo Abbruzzese makes a really stylish debut with Disco Boy, a visually thrilling, ambitious and distinctly freaky adventure into the heart of imperial darkness, or into something else entirely: the heart of an alternative reality, or a transcendent new self.
  8. Inside
    It is a strange, enclosed experience: Dafoe’s mastery of the screen keeps it meaningful.
  9. Stop-Zemlia
    This gentle, authentic-feeling coming-of-age drama from Ukrainian film-maker Kateryna Gornostai premiered at the Berlin festival in 2021. Released in the UK almost a year to the day since the Russian invasion, her film has become unbearably poignant.
  10. She Came to Me
    It’s a likeable confection, and a pleasure to see Marisa Tomei on very good form.
  11. Ocean Boy
    Atkins uses these settings as pretty scaffolding for otherwise ordinary scenes.
  12. Three Day Millionaire
    What’s missing is a sense of what’s at stake – we never quite get a feeling for how desperate these men are, and for the most part they feel a bit too familiar from the Britcom playbook. That said, Burrows brings cheeky-chappie warmth to the character of Curly.
  13. She Is Love
    A waste of great talent, sadly.
  14. Epic Tails
    Nearly everything about Epic Tails feels a bit underwhelming, and limited imagination-wise.
  15. Daughter
    At points I wondered if this is a film that tells us anything about anything. Some of its ideas feel a bit thrown together.
  16. Attachment
    The refreshing – and rare – blend of Jewish humour and horror makes Attachment a fun Valentine’s Day watch for those who like their queer romance with a sprinkle of spooky chill.
  17. Marcel the Shell with Shoes On
    The film appears to exist in the Venn diagram-overlap between twee and hipster, which isn’t for everyone – but let it grow on you, and there is a real sweetness and gentleness in its absurdity, a savant innocence and charm.
  18. Ant-Man and the Wasp: Quantumania
    In his more wistful moments Kang would surely understand the main misgiving with this efficient movie product: the MCU marches inexorably onwards, through “phases” and “sagas”, but what’s the point if there’s no time to pause, reflect and enjoy a joke with old friends?
  19. Make Me Famous
    As a narrative, it gets a bit repetitive by the time we get to France, but the abundance of home video footage from back in the day, and campy dirt-dishing from the interviewees, makes for a touching look at halcyon period in New York history, before the last shabby corners of Manhattan were gentrified beyond all recognition.
  20. Nelly & Nadine
    The film gives us a precious glimpse into LGBTQ+ life in the postwar period.
  21. Nothing Lasts Forever
    Managing to get access to some of the biggest names in the industry, including De Beers CEO Stephen Lussier (who perhaps not coincidentally retired this month), Kohn opens up a bijou microcosm of capitalism in the age of quantum reproduction.
  22. Your Place or Mine
    Even as glossy run-of-the-mill formula, it’s never even close to being as funny or romantic as it needs to be, devoid of fizzy one-liners and hampered by the pair struggling to muster up chemistry during phone conversations that never feel as lived-in as they would for friends with such extensive history.
  23. Women Talking
    The film’s rather abstract conversation doesn’t convey much in the way of urgency or specificity. But there is a sustained moral seriousness in Polley’s work, a willingness to confront pain.
  24. Somebody I Used to Know
    This is an odd combination of broad semi-satirical humour and deeply serious hugging and learning.
  25. Seriously Red
    This is a film that is trying very hard to be liked, while at the same time complacently assuming its likeability is beyond question.
  26. Sharper
    Like the luxury goods that in one scene we see being stolen, the performances are out of the top drawer, and it is a great pleasure to see Moore on such good form: no one cries more needily, and with more nakedly sinister intent, than her.
  27. Magic Mike's Last Dance
    Channing Tatum’s hunky stripper enjoys some sizzling scenes with Salma Hayek but this eccentric threequel feels cobbled together.
  28. True Spirit
    The cast of True Spirit had no such chance: the schmaltz and mushiness overpower everything. The film’s daytime-soap vibes render an unquestionably inspiring true story into an experience that feels so false, so rinky-dink, I had to remind myself it was based on real life.
  29. Saint Omer
    The severity and poise of this calmly paced movie, its emotional reserve and moral seriousness – and the elusive, implied confessional dimension concerning Diop herself – make it an extraordinary experience.
  30. 80 for Brady
    Good company is the name of the game here, both in the nourishing bond between these geriatric besties as well as the chance for us to spend another 100 minutes in the presence of showbiz royalty. But for all its congenial upbeatitude, this salute to blue-hair camaraderie has been molded into the shape of a movie without much finesse.
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