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. Burial
    Parker clearly has ideas he’s aiming at, but lets his target slip in the fog of war.
  2. 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.
  3. 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.
  4. 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.
  5. Other People's Children
    It is a gentle, heartfelt relationship drama about – and for – intelligent adults.
  6. 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.
  7. 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.
  8. Allelujah
    This watchable, undemanding drama rolls along capably, enlivened by unmistakably Bennettian gags and drolleries which come along every minute or so.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Hatching
    An elegantly horrible coming-of-age.
  15. Causeway
    Everything about this film means well and it is acted with professionalism and commitment. But there is something too easy about it.
  16. Wendell & Wild
    The more characters Selick has to work with, the more room there is for his deliciously strange and comic visual craft.
  17. The Silent Twins
    This is an engrossing, well-acted story – disturbing but also tender and sad.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  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. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. End of the Road
    The action is clumsy. The writing leans on tropes. The dramatic scenes overestimate the artistic range of a charming rapper-turned-actor like Bridges. And director Millicent Shelton makes some curious stylistic decisions along the way, whether it’s amethyst lighting or montages that have the feel of a R&B music video.
  30. Brahmastra Part One: Shiva
    Mukerji’s biggest achievement is getting this relationship to flourish, Kapoor and Bhatt being among the precious few real-life couples with palpable onscreen chemistry.
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