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 Cordillera of Dreams
    This is rich and valuable testament to Chilean courage.
  2. House of Darkness
    This feels like something LaBute wrote in an afternoon on the notes app on his smartphone while thinking about something else.
  3. The Woman King
    This is a big, bold picture with the vivid presences of Davis, Lynch, Atim and Mbedu giving it some real voltage.
  4. My Best Friend's Exorcism
    My Best Friend’s Exorcism could perhaps do with one or two genuine scares. But for anyone old enough to remember Tiffany and advice columns in teenage girls’ magazines, this is going to deliver a pleasing shot of nostalgia.
  5. Hocus Pocus 2
    Like many fan favourite follow-ups, Hocus Pocus 2 is stuck, trapped somewhere between different times, audiences and tones, trying to do so much yet, in this instance, achieving so very little.
  6. Sniper. The White Raven
    As a war movie written by a soldier this material feels oddly lacking in authenticity and authority. And yet it’s a noble attempt to honour the resilience of Ukrainians and the courage of ordinary people like Voronin, fighting for freedom.
  7. Inu-oh
    Retrofitting medieval Noh as a world of guitar gods and cavorting dancers, Inu-oh has its two disabled lead characters make a psychedelic plea in favour of slipping loose from dominant narratives, told in a fecund patchwork of styles by Yuasa that asserts its own outsider credentials.
  8. Amsterdam
    There is something weirdly heavy and foggy in Amsterdam that feels like it’s working against the lightness and nimbleness needed for a caper. It’s the reality of the history, which the movie makes explicit in the closing credits.
  9. The Girl with a Bracelet
    Viewers may be split on the question of exactly how satisfying it all is in the end. The performances are strong.
  10. Girl Picture
    This is such a vivid, lovable triple-decker performance from Milonoff, Kauhanen and Leino.
  11. Smile
    The movie is a shard of comic and cosmic spite, and the image of the malign smile carries force.
  12. Young Plato
    The school is no more dysfunctional than any other institution and a lot more intelligent and self-questioning than many. A very engaging film.
  13. A Jazzman's Blues
    Everything about this film is genuinely absorbing. The performances are restrained. The locations, many of them seemingly on the Perry Studios lot, are lush. The musical numbers are decadent . . . The storytelling is efficient, the scenes well-paced, the command of social and racial politics ironclad.
  14. Lou
    The sheer existence of Lou might be a step in the right direction for women over 50 in action movies, but it’s a misstep everywhere else.
  15. The Justice of Bunny King
    The strength of the writing is in portraying Bunny’s reality, allowing us to wonder – like the social workers – whether she really is a reliable parent. This is thoughtful film-making, though I didn’t quite buy into the explosion of drama at the end.
  16. You Won't Be Alone
    There’s a feminist undercurrent in You Won’t Be Alone, its observations of the patriarchy emerging in ways totally germane to the experience. An odd kind of eroticism also emerges: neither sensual nor entirely gross, and certainly not from the male gaze. Sometimes the film doesn’t even feel like it’s from a human gaze.
  17. After Yang
    The action of After Yang, bizarre and exotic as it is, meditates on what it is to be human and how that may in the future be modified, but it also addresses loss in the present day: our anguished and futile human instinct that death must surely be fixable.
  18. Jeepers Creepers: Reborn
    Neither slicing under the genre’s surface, nor dicing the heritage well, this reboot is more an unseemly act of IP cannibalism.
  19. Blonde
    Well, there’s no doubting that de Armas gives this everything she’s got and that is a very great deal, an expert analogue performance digitally deepfaked into various hallucinations. . . . Her performance is great; the film itself is self-satisfied and incurious.
  20. Meet Cute
    As hard as Cuoco and Davidson try at chemistry – and Cuoco, at least, seems to be really trying – this umpteenth spin on the Groundhog Day time loop is more irksome than endearing, cutesy than actually cute, a downward spiral of uncomfortably performed neuroticism that devolves into a borderline indefensible ending.
  21. Goodnight Mommy
    Sobel’s direction feels a little lesser when compared with his leading lady, relying on dream sequences to push us to the edge, never getting anywhere close to the iciness of the original or finding anything distinctive enough to separate the aesthetic of his take.
  22. Burial
    Parker clearly has ideas he’s aiming at, but lets his target slip in the fog of war.
  23. Sidney
    This documentary is a spirited rebuke to the “sellout” narrative which has been allowed to grow up around his career, and a paean of praise to his commitment, talent and heroism.
  24. What's Love Got to Do with It?
    Khan’s script is one of competency rather than creativity: a sound structure, a propulsive pace and a learned awareness of genre conventions but dialogue that often feels a little first draft, a little placeholder-heavy, zingers not really zinging quite as they should.
  25. The Swimmers
    There’s an extraordinary story to be told here. It’s just a shame it had to be told in such an ordinary way.
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