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. Other People's Children
    It is a gentle, heartfelt relationship drama about – and for – intelligent adults.
  2. Master Gardener
    Perhaps Schrader will indeed defiantly return to his accustomed theme for his next film – and this brilliant, restless director might well make it work. Sadly, this one doesn’t.
  3. Devotion
    Training its crosshair on the ingrained prejudice of the military and the question of how well-meaning white allies can best support its undoing, the film compensates for relatively middling action set pieces with a stolid maturity.
  4. Allelujah
    This watchable, undemanding drama rolls along capably, enlivened by unmistakably Bennettian gags and drolleries which come along every minute or so.
  5. Alice, Darling
    It’s a chilling little film, avoiding maximalism at every turn, a bold debut from Nighy (whose only real slip-up is a score that can feel dull and uninspired) and a difficult reminder of a difficult experience. The chill will linger for a while.
  6. Do Revenge
    Its outsized mean girl ruthlessness with a candy-coated shell, led by Mendes and Hawke’s commanding performances, is a biting, if overlong, good time.
  7. Emily
    Emily is a sensitive and passionate portrait of the author.
  8. The Wonder
    A film about the danger of believing without questioning that turns us into full-throated believers in whatever Lelio and Pugh can do.
  9. Clerks III
    Like the junk food that the central characters sell in their convenience store, it’s a strangely moreish brew that you enjoy but feel faintly guilty about consuming, like nachos with cheese-flavoured sauce or a blue slushy ice drink.
  10. The Greatest Beer Run Ever
    [Farrelly's] latest commits itself to regurgitating every Vietnam cliche with the laziest possible visual diction, led by an emotionally overextended Zac Efron.
  11. Ticket to Paradise
    Ticket to Paradise may well do great business to those looking for some escapist fun, and that’s entirely understandable. But I found the wacky double-act of George and Julia slightly hard work.
  12. The Good Nurse
    The Good Nurse remains a good, if not ultimately great, attempt to tell the story of a very bad person.
  13. Hatching
    An elegantly horrible coming-of-age.
  14. Causeway
    Everything about this film means well and it is acted with professionalism and commitment. But there is something too easy about it.
  15. Wendell & Wild
    The more characters Selick has to work with, the more room there is for his deliciously strange and comic visual craft.
  16. The Silent Twins
    This is an engrossing, well-acted story – disturbing but also tender and sad.
  17. Catherine Called Birdy
    In Dunham’s hands, the throughline of enduring and discovering one’s worth, however historically imagined, is at once a comfort and a lark.
  18. The Retaliators
    Without revealing which one wins out, I can assure you that a huge amount of murderous mayhem is unleashed, including death by woodchipper.
  19. Strawberry Mansion
    Beneath the crazy candy-coloured palette, there is actually some real human warmth in the love story, and the acting ensemble features some great comic performers in supporting roles.
  20. Bloody Oranges
    It’s a strange film; it rattles fiercely along, but its relentless cynicism and nihilism leaves a sour taste and opinion may divide as to exactly how funny it is. Podalydès gives an entertainingly blase performance as the worldly image consultant, trying to seduce Alexandre over lunch.
  21. Empire of Light
    Empire of Light is a sweet, heartfelt, humane movie, which doesn’t shy away from the brutality and the racism that was happening in the streets outside the cinema.
  22. My Policeman
    The stinging tragedy of being gay at the wrong time in history is something that will always prove ripe for emotive, painful drama but director Michael Grandage struggles to pull our heart-strings, an easy target easily missed.
  23. The Fabelmans
    There remains a remove though still, Spielberg giving us a slightly too stage-managed version of himself and his family, some gristle missing from the darkest moments.
  24. The Menu
    The Menu might not nail some of the more substantial courses but it’ll do as a light snack.
  25. Glass Onion: A Knives Out Mystery
    Johnson’s more extravagant and often indulgent sequel will likely find those who prefer it to the original, it’s so stuffed with so much that it’ll surely prove more fun to those who appreciate getting more bang for their buck. It’s hard not to have fun when Johnson pulls the strings, I just wish he’d not pulled quite so many and quite so hard.
  26. Bros
    It’s big and clever in a way that so few films of this scale are these days, a pleasure to be shepherded through the easy motions of a romantic comedy by people who know what they’re doing for once, and manages to walk a difficult tightrope without falling, despite the heft of baggage.
  27. The Woman King
    The Woman King is a sturdy, rousing piece of studio entertainment, that makes both the new feel old and the old feel new.
  28. Love Life
    Love Life is an inexpressibly tragic and painful human drama about complicated lives, a movie that interleaves the utter desolation with a dry understated comedy and a sense of emotional tangle and chaos, a film that moreover blindsides its leading female character – and us, the audience – with an entirely unexpected coda section.
  29. The Inspection
    It’s in the film’s queerest moments that things feel most inventive, narratively and visually, as Bratton steps most firmly outside of the hemmed-in army drama formula and finds ways to make his film sit and thrive in the Venn diagram between military machismo and homoeroticism.
  30. Women Talking
    It’s all unavoidably stagey, with talky, tense scenes weighing the pros and cons of the decisions, and while Polley does make some attempts to take us outside the barn, to widen the canvas, there’s still an artificiality to some of the construct that makes us wish we were sitting watching this in the theatre instead.
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