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. Malignant
    If only they’d put fuller faith in the true nature of their premise, and leaned all the way into the kookier side of body horror. Instead of trying for the sophistication of Cronenberg and coming up short, they’d be better off embracing the near-absurdity of lower-rent cult objects like Basket Case from the start.
  2. Martyrs Lane
    The film coheres quietly, thanks in no small part to the two excellent child performances.
  3. The Lost Leonardo
    As with all documentaries about art, we are left uneasily wondering if the galleries of the world are full of “wrong attributions” or straight-up fakes.
  4. Kate
    A to-the-point two-hour slab of pulp that slickly glides above a very low bar.
  5. No Man of God
    Both actors contribute knife-sharp timing and the kind of intensity needed to make this essentially two-man setup work.
  6. Herself
    There’s a strong basis of originality here, and the warmth and good nature of the movie carries it along.
  7. Respect
    In the leading role as the queen of soul, Jennifer Hudson comports herself as well as could be hoped considering the material she’s been given, which demands that she reinvigorate a rote character arc with her own passions.
  8. Yakuza Princess
    It’s been compiled with enthusiasm, flashes of skill, and a certain devil-may-care cheek – an infusion of newish blood for a Brazilian film industry that’s been badly drained in recent years.
  9. The Voyeurs
    Mohan handles his audience with care, diligence, attentiveness, creativity, smoldering passion – the mind positively swims with sexual metaphors. That’s the headspace in which this film leaves us: a well-made gutter we haven’t had the chance to visit for far too long.
  10. Halloween Kills
    Forty years after John Carpenter made the defining slasher movie, director David Gordon Green has made a creditable stab, as it were, at reanimating the title.
  11. From the Vine
    An Italian-American man in late middle age rejects the rat race and embarks on a voyage of self-discovery and winemaking in this lifelessly unfunny comedy.
  12. Copilot
    Anne Zohra Berrached’s film is ambitious and interestingly intended, but naive and flawed, with a fundamental problem, which is right up there in the title.
  13. Sweet Thing
    This small, delicate, late-blooming film is quite lovely, and a throwback to the 1990s/2000s craze for semi-improvised, rough and ready indie film-making.
  14. Sundown
    It’s pitiless and pitch-perfect, an existential tour-de-force with shades of Camus’s The Outsider.
  15. Wife of a Spy
    There is sweep and confidence in this movie
  16. Boiling Point
    The explosively potent Graham does deliver a colossal, intimate ending, acted with complete and affecting sincerity. He has presence, potency and force.
  17. Wildfire
    It’s a potent drama – and a melancholy reminder of the talent that Irish cinema and TV lost in McGuigan
  18. Last Night in Soho
    British writer-director Edgar Wright takes a grab-bag of 1960s ingredients, paints them up and makes them dance to his tune. His film is thoroughly silly and stupidly enjoyable.
  19. Spencer
    Kristen Stewart proves entirely compelling in the title role. She gives an awkward and mannered performance as Diana, and this is entirely as it should be when one considers that Diana gave an awkward and mannered performance herself, garnishing her inbred posh hauteur with studied coquettish asides.
  20. Dune: Part One
    Denis Villenueve’s slow-burn space opera fuses the arthouse and the multiplex to create an epic of otherworldly brilliance.
  21. Anthropocene: The Human Epoch
    It purports to be a “cinematic meditation” on the havoc humans have wreaked on the environment, yet the style-over-substance approach reduces these eco-conscious contemplations to a mere exercise in aesthetics, without any social or political context.
  22. The Card Counter
    The central relationships can be a little schematic, while the plot slaloms in and out of plausibility. Still, the cast keeps it honest and there is much to relish in the film’s moody, meditative intensity.
  23. The Hand of God
    The Hand of God, no surprise, is Sorrentino’s most nakedly personal film to date, almost to a fault in the way it jettisons the cool distance of The Great Beauty or Il Divo in favour of a sweaty, close-up evocation of youth. It’s a picture only Sorrentino could make. But that doesn’t necessarily make him the safest pair of hands.
  24. Enforcement
    There are plenty of heart-pumping moments, plus a fair few false notes, a couple of implausible coincidences and some exposition-y dialogue spelling out the film’s message, which is about how the two sides see each other.
  25. Misha and the Wolves
    It’s propulsively watchable if a tad light on reflection. And you may feel hoodwinked by one late reveal.
  26. Here Today
    Any movie that helps us to talk about dementia is to be welcomed, and they are becoming more commonplace. But the pure treacliness of Here Today is very dispiriting and there are some tonal missteps.
  27. The Power of the Dog
    It’s a brawny, brooding drama about the wreckage caused by men, beautifully framed in muted neutral tones as the camera circles the ranch-house with a deliberate, stealthy tread.
  28. Parallel Mothers
    Let nobody fault Almodóvar’s ambition here. If this finally lacks the polished sweep and completeness of Pain and Glory, his previous feature, it compensates with an air of fraught intimacy and throws out a wealth of ideas, leaving some tantalising loose ends to be picked up and examined.
  29. Cinderella
    Writer-director Kay Cannon’s new Cinderella isn’t bad, and Camila Cabello makes a rather personable lead, carrying off some of the movie’s generous helping of funny lines.
  30. The Last Bus
    Try as I might, I couldn’t make friends with this weirdly unreal and sentimental Britmovie in the last-journey-with-someone’s-ashes genre. But it is certainly acted with commitment and integrity by Timothy Spall.
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