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. Anything's Possible
    Anything’s Possible is another needed step in the right direction – a just-fine high school romantic comedy about an unapologetic, bold trans teenager on a major streaming platform.
  2. The Good Boss
    The raffish charisma and sinister, saturnine handsomeness of Javier Bardem is what raises this movie above the standard of soap-opera … mostly.
  3. Prizefighter: The Life of Jem Belcher
    Despite the film’s historical interest, it plays like a Carry On film without the gags, and the way it is shot makes it look like a coffee commercial.
  4. Where the Crawdads Sing
    Where the Crawdads Sing never really had an interest in complications, or hardship, or racism as anything beyond wallpaper for its central nature girl fantasy of self-reliance. It would rather stay above the fray, gliding prettily along the marsh without actually getting dirty.
  5. Nope
    There is something clotted and heavy about this film, with sadly not enough of the humour for which Peele justly became celebrated in his double-act days with Keegan-Michael Key. It’s not the positive response I wanted to have.
  6. How to Please a Woman
    The end result is nowhere near as persuasive or grounded in solid screenwriting as Leo Grande is, but Phillips has always been a charmer onscreen and, like Grande’s Emma Thompson, she’s more than willing to use her talent here to make a case for women learning to manage and take charge of their own pleasure.
  7. A Chiara
    As Chiara, Rotolo’s face dominates the screen in closeup for much of the film, and she manages to look very young and yet very worldly wise at the same time. Another very impressive achievement from Carpignano.
  8. All Light, Everywhere
    While the effort put into research for this documentary is commendable, ultimately the aestheticisation of the information dampens its impact.
  9. She Will
    It’s a fetching package, which makes it all the more frustrating that the script isn’t tauter and sharper. But Krige is terrific and there should certainly be more films about angry post-menopausal women tapping into their dark side.
  10. This Is GWAR
    Even if the antics shown here aren’t really your thing, it is still a hoot seeing Gwar members get interviewed by a game Joan Rivers: you can tell that beneath all the latex most of them are sweet, normal folk who remained loyal (mostly) to one another and shared a vision for the group.
  11. Glasshouse
    This tense dystopian horror-thriller feels geographically non-specific, almost as if it were taking place in some kind of dream world. That touch of hazy vagueness is just right for SA director and co-writer Kelsey Egan’s cracking feature debut (co-written with Emma Lungiswa De Wet).
  12. Good Madam
    Good Madam is an intriguing, atmospheric movie which doesn’t quite tie up all its sinister portents and implications in a satisfying ending. Yet there is something very unsettling in it.
  13. Roadrunner: A Film About Anthony Bourdain
    The film is a reminder of just what a brilliant writer Bourdain was.
  14. Don't Make Me Go
    Even before the dramatic left turn, all the way over the cliff and into flames, this ho-hum road trip comedy drama was already hard to like, an unspecific sitcom of eye-rolls and finger-wagging.
  15. McEnroe
    The rock’n’roll bad boy of tennis is watchably if uncritically celebrated in this documentary portrait by Barney Douglas; it is a film that leaves unsolved the riddle, if it is a riddle, of John McEnroe’s confrontational on-court personality.
  16. Mrs. Harris Goes to Paris
    While Mrs Harris Goes to Paris is far lighter fare and at times so light that it threatens to drift away, Manville is determined to keep it grounded, a deft balance of dramatic heft and comic levity that not many other actors could employ quite so seamlessly.
  17. The Gray Man
    Two solid hours of efficient Netflix content is what’s on offer here, the action-thriller equivalent of a conscientiously microwaved Tuscan Sausage Penne from M&S.
  18. Persuasion
    Jane Austen’s calm, subtle novel gets the Fleabag treatment in this smirking romcom; it has more wrong notes than an inebriated squadron of harpists, including everything but a last-minute rush in a barouche to Bath airport.
  19. Brian and Charles
    It isn’t easy to develop a sketch-length idea into a feature film and not easy to pivot from ironic comedy into dark Straw Dogs-style menace, and then into a sweet-natured happy ending. But Earl, Hayward and Archer have managed it. It’s the bromance of the year.
  20. Hello, Goodbye and Everything in Between
    It accomplished what few of its peers have been able to do: make me believe in a teenage romance, actually remember the confusion of growing up and feel satisfied with an ending that points to an open-book future.
  21. Rubikon
    While the ensuing sense of despair that overwhelms the drama is credible, it does bring with it a certain sense of torpor that makes the film a bit of a grind in the midsection.
  22. 18½
    It’s entertaining enough and you never know where the story is headed, but it doesn’t quite hold together.
  23. Futura
    In the end, it’s a film with a melancholic feel, which probably has a lot to do with its timing.
  24. Fortress: Sniper's Eye
    Amid all this dross there is a charming scene in where a young couple, played by Natalie Burn and Michael Sirow, banter and giggle: their screen chemistry is like something out of a Richard Linklater movie. What a shame one of the characters gets murdered not long after.
  25. Corrective Measures
    Restricted to short line readings presumably because of his well-publicised health difficulties, Bruce Willis is not exactly in fighting shape here. But Corrective Measures is still a bracing combination of super-schlock and social commentary.
  26. Thor: Love and Thunder
    The film is probably on its strongest ground with the most purely absurd touches.
  27. Ennio
    It’s not so much the running time of 156 minutes that will tire you out as the incredible sonic, visual and emotional overload generated by the work itself; perhaps this is ideally seen first in a cinema for maximum impact and then again in small, digestible chunks at home.
  28. Tigers
    This is a laborious movie whose final intertitles rather superciliously assure us that Inter Milan has made greater advances than other European clubs on protecting its young players’ mental health. That claim is as cloudy as everything else.
  29. Beauty
    Dosunmu, an established music video director, assembles beautiful shots of longing, pain, yearning, closeness and jealousy between Beauty and girlfriend Jazz (Aleyse Shannon). But strung together by Waithe’s too-spare script, they feel isolated and go nowhere.
  30. The Princess
    It is captivating and agonising all over again to see how dazzling Diana was, how simple and spontaneous she was compared with both the stuffy royals but also the secular celebrity class – how she instinctively knew to work with the press when it was still essentially sympathetic, but how panicky and dysfunctional she became when this same press became boorish and predatory.
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