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. Elvis
    It’s not a movie so much as 159-minute trailer for a film called Elvis – a relentless, frantically flashy montage, epic and yet negligible at the same time, with no variation of pace.
  2. Enys Men
    It is not exactly a horror film, despite some spasms of disquiet, but an uncanny evocation of how, when left utterly on our own, we spiral inwards into our memories, dreams and fears.
  3. Cairo Conspiracy
    It’s a movie that is boldly anti-clerical, juxtaposing the spectacle of faith with a hidden reality of corruption and hypocrisy – although in the final act I sensed that it perhaps did not quite have the courage of its satirical convictions.
  4. The Bob's Burgers Movie
    It functions elegantly as both a victory lap for longtime fans and a belated introduction to the Belchers, a family of lovable misfits and cranks that’s as genuinely close as any on television.
  5. The Eight Mountains
    This film has mystery and passion, it climbs mountainous heights and rewards you with the opposite of vertigo: a sort of exaltation.
  6. Decision to Leave
    It’s a gorgeously and grippingly made picture and Tang Wei is magnificent.
  7. The Burning Sea
    A regular beat of tension and release plays out as people get saved only to face new dangers, following the template of disaster films since the beginning of cinema, but it’s done well here. The visual effects are impressive, especially the water, which is so notoriously hard to animate.
  8. Moonage Daydream
    It’s a glorious celebratory montage of archive material, live performance footage, Bowie’s own experimental video art and paintings, movie and stage work and interviews with various normcore TV personalities with whom Bowie is unfailingly polite, open and charming.
  9. Crimes of the Future
    It’s an extraordinary planet that Cronenberg lands us down on, and insists we remove our helmets before we’re quite sure we can breathe the air.
  10. Luzzu
    On the face of it, this film is a commentary on the darker side of globalisation and modern commerce, but for Camilleri who was raised in Minnesota in a Maltese family, it also feels like a pilgrimage back to one’s roots, highlighting the specificities of the Maltese language and culture which are still sorely underrepresented in world cinema.
  11. R.M.N.
    RMN is a sombre downbeat movie, whose sudden flurry of dreamlike visions at the very end is a little disconcerting. But it is seriously engaged with the dysfunction and unhappiness in Europe that goes unreported and unacknowledged.
  12. Corsage
    In many ways this is a study in anger, and it is an austere and angular picture. Krieps gives an exhilaratingly fierce, uningratiating performance.
  13. Brother and Sister
    This is exasperatingly nonsensical and humourless: it is full of grand gestures, gigantically self-important acting, big scenes (though often bafflingly truncated), big emotions and smirkingly knowing dialogue. Yet I admit there is technique and gusto to the way it is put together.
  14. Aftersun
    With remarkable confidence, [Wells] just lets her movie unspool naturally, like a haunting and deceptively simple short story. The details accumulate; the images reverberate; the unshowy gentleness of the central relationship inexorably deepens in importance.
  15. One Fine Morning
    For all its tendency to soap opera, it has a lovely happy-sad sweetness.
  16. Triangle of Sadness
    Strident, derivative and dismayingly deficient in genuine laughs, Ruben Östlund’s new movie is a heavy-handed Euro-satire, without the subtlety and insight of his breakthrough movie Force Majeure, or the power of his comparable Palme-winning spectacle about the art world, The Square.
  17. Digger
    It’s a shame that, as it ramps up, this generational tension isn’t dramatised with the sharpness it might have been.
  18. Cordelia
    Perhaps this film doesn’t entirely work all the way through, but it is a shard of malevolence that jabs into your skin.
  19. Tchaikovsky's Wife
    This is undoubtedly a vehement and very watchable drama – far superior to Serebrennikov’s previous film, the sprawling and unrewarding Petrov’s Flu. If there is a narrowness in its emotional and tonal range, that gives it force.
  20. Chip 'n Dale: Rescue Rangers
    It’s not quite on par with Who Framed Roger Rabbit?, the film it undoubtedly wants to be likened to, but it’s infinitely better than it had any right to be.
  21. Armageddon Time
    Gray has given us tough, sinewy and memorable New York movies in the past such as The Yards and We Own the Night, but this is weighed down with a sentimental and self-regarding staginess.
  22. When You Finish Saving the World
    The tricky mother-son relationship is well managed and Moore always brings to this kind of Oedipal drama a seriocomic intensity (as in Tom Kalin’s Savage Grace from 2007, playing opposite Eddie Redmayne).
  23. The Innocents
    The Innocents is a nightmare unfolding in cold, clear daylight.
  24. a-ha: the Movie
    The history that emerges here is of a band yo-yoing between attempts to be taken seriously as artists, then coming back for more boyband fame and adulation. An air of collective self-loathing and regret hangs over them.
  25. Final Cut
    The result is something appreciably sillier and more eccentric than the original ... It’s certainly far from the sophistication and gloss for which Hazanavicius became famous ten years ago with his silent pastiche The Artist; it’s closer to his spy spoof series OSS 117. But it’s likeable and goofy.
  26. Firestarter
    No one here seems to know what they’re doing and, more importantly, why. A strong contender for 2022’s most pointless movie.
  27. Senior Year
    Tonally, it’s all over the place, that aforementioned sap curdled together with Wilson’s trademark crudeness, an R-rated comedy that wants to be both sweet and salty, a balance it never manages to perfect.
  28. Father Stu
    There are also good bits in this based-on-a-true-story drama, including the aforementioned performances and a commitment to theology so sincere it’s not afraid to bore an audience with lots of pin-head-fine debates about Godhood. If Gibson weren’t part of the package it might be possible to like it more.
  29. Vortex
    Vortex tells us something else about old age, something which a severe and high-minded movie like Michael Haneke’s Amour would not grasp: death is chaotic, like life. It ends with things undone and in messy disarray. This is a work of wintry maturity, and real compassion.
  30. Top Gun: Maverick
    There’s plenty of rock’n’roll fighter-pilot action in this movie, but weirdly none of the homoerotic tension that back in the day had guys queueing up at the Navy recruitment booths set up in cinema foyers. Weirder still, it is actually less progressive on gender issues than the original film.
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