The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. Some Like It Rare
    Some Like It Rare is a tasty treat for herbivores and carnivores alike.
  2. Hellraiser
    It doesn’t always work, and at times it really really doesn’t, but it feels confident and unfettered in a way that so many horror films don’t these days.
  3. Luckiest Girl Alive
    There are pieces of Luckiest Girl Alive that seem interested in a life splintered by trauma, in the relief of unburdening, the hunger for certainty over what happened, the thrill of playing on cultural expectations for women. But the story it ultimately tells is an empty, self-serving fantasy.
  4. Deadstream
    Although the whole concept is quite daft, Winter’s energetic and committed performance adds a bit of heft without ever forfeiting the comedy entirely.
  5. Mr. Harrigan's Phone
    It’s solidly acted by Martell and Sutherland, although the latter seems as desperate as we are to let loose and have a bit more fun, and has a confident sense of place as King adaptations often do but it’s all rather unforgivably dull, a call to be swiftly ignored.
  6. Nothing Compares
    This is a bracing guide to a brilliant individual who declined to conform.
  7. Roald Dahl's Matilda The Musical
    Matilda is a tangy bit of entertainment, served up with gusto.
  8. After Blue (Dirty Paradise)
    After Blue is a preposterous film, easy to ridicule. But it’s surely already halfway to cult classic status – destined to play midnight slots, watched by students smuggling bottles of red wine into the cinema under their coats.
  9. The Cordillera of Dreams
    This is rich and valuable testament to Chilean courage.
  10. House of Darkness
    This feels like something LaBute wrote in an afternoon on the notes app on his smartphone while thinking about something else.
  11. 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.
  12. Till
    It is as noble an execution of tragic historical record as one could hope for within the limits of a biopic – neither confirmation of doubters nor enough justification to relive it.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. Girl Picture
    This is such a vivid, lovable triple-decker performance from Milonoff, Kauhanen and Leino.
  20. Smile
    The movie is a shard of comic and cosmic spite, and the image of the malign smile carries force.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Blonde
    This is a portrait of Monroe that accentuates her suffering and anguish, canonising her into a feminist saint who died for our scopophilic sins, that we might feast on her beauty and talent. Maybe it’s not an opera but a kind of religious ritual for the modern age, visiting the stations of the crosses Monroe bore, the Passion of the Marilyn.
  29. 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.
  30. 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.
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