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. The Sparks Brothers
    It is simultaneously exasperating and magnificent that he shows no interest whatever in asking the Mael brothers anything about their personal, emotional or romantic lives.
  2. Settlers
    Settlers isn’t perfect: some of the storytelling beats aren’t hit as clearly as they could have been. But it’s a quietly impressive piece of work.
  3. Spirit Untamed
    It’s a sweet, undemanding film that, despite the title, is tamer than a sedated bunny. That said, the four-year-old I watched with spontaneously yelped “this is the best!” 20 minutes in. So really, what do I know?
  4. The Suicide Squad
    Not everything works here, but the sheer crazy confidence-through-chaos of the Suicide Squad and their bizarrely dysfunctional MO makes for a mighty spectacle.
  5. The Most Beautiful Boy in the World
    It is a desperately unhappy story, sympathetically told by film-makers Kristina Lindström and Kristian Petri.
  6. Jungle Cruise
    The spark that was there in the opening section disappears and the film splutters out into something directionless and derivative and dull.
  7. Out of Death
    The film squanders one or two promising plot ideas, and winds up making a hamfisted paean of praise to the idea of “open carry” gun ownership.
  8. The Offering
    It’s a shame that Durall doesn’t find his torrid and sophisticated story the visual register it deserves, leaving The Offering with a humdrum televisual ambience that’s a bit unsatisfying.
  9. The True Don Quixote
    A whimsical, good-natured romp, sure, but one that’s only mildly amusing.
  10. The Garden Left Behind
    It’s not reasonable to ask that the film keeps Tina safe, but a sense from the start that things might end badly for her made me wince a little even during the lovely, authentic-feeling scenes of her life.
  11. Man Under Table
    Money can’t buy you good comic instincts, inventiveness or a sense of playful whimsy, but, fortunately, Taylor and his handful of collaborators have all that for free.
  12. The Boy Behind the Door
    In the end this is a fundamentally genre-subservient film, staying within the safe lines that absolves it from getting close to the true horrors it hints at.
  13. The Green Knight
    David Lowery’s complex, visually sumptuous and uncommercial tale of Arthurian legend revels in upending expectations.
  14. Off the Rails
    The net effect of Debbie Harry popping up at 10-second intervals on the soundtrack to top up levels of ironic sass is to highlight how that quality is in generally short supply in the script.
  15. The World to Come
    Fastvold’s film is distinctive in that she shows us how physical constraint and violence are part of the fabric of living.
  16. Val
    It’s pure hagiography and taken as that, it’s skillfully assembled, even stylishly so at times, and Kilmer’s insights into his art skirt just the right side of Inside the Actors Studio indulgence but as a portrait of a star known for his rough edges, it’s all far too smooth.
  17. Riders of Justice
    There are action thrills, to be sure, but they are folded into what becomes a sort of group therapy session on the psychology of grief, guilt, vengeance, chance and coincidence. Even more blessedly, it’s often hilarious.
  18. Bye Bye Morons
    Some French films, like wine, don’t travel. This one turns to vinegar.
  19. Last Letter from Your Lover
    The central romance here is, on paper, a love for the ages, a story of all-consuming passion. It’s not quite so in practice.
  20. Old
    The elements of silliness and deadly seriousness are nicely balanced and although I wasn’t absolutely sure about the ending, which has maybe too neat a bow tied on it, this is just very enjoyable and I was on the edge of my seat, not knowing whether to flinch or laugh, though I did both.
  21. Jolt
    Altogether, this is flyweight fun.
  22. Snake Eyes: G.I. Joe Origins
    The script’s attempts at wisdom amount to little more than dime-store platitudes, and the internecine turmoil of the Arashikage clan never comes close to anything like emotional heft.
  23. Kandisha
    The closing stretch – including an exorcism in an imam’s incantation-lined apartment (interior design goals!) – is brutally effective. By this time, Aisha Kandisha is a towering succubus; postcolonial theory stomping in on a pair of terrifying goat’s hooves.
  24. Luz: The Flower of Evil
    The film is depressingly thin on the women; often it seems more interested in arranging them in arty tableaux than investigating the way that isolation has shaped their personalities and how they see the world.
  25. Every Breath You Take
    The whole thing hangs on a twist that anyone who has ever watched a trashy thriller will have cottoned on to at around the 20-minute mark.
  26. Mi Iubita Mon Amour
    It’s an engaging piece of work from Merlant who has a real sense of directing an ensemble of actors.
  27. Here We Are
    The last half hour, so finely underplayed, is quietly devastating.
  28. Rogue Hostage
    The whole shooting match is pretty bloody, and as cheesy as the dairy aisle, but decent fun to watch.
  29. Phil Liggett: The Voice of Cycling
    This film (and Liggett) is likable and charming enough.
  30. Night of the Kings
    The freshness of the approach, combined with the substance of the stories, works the same strange magic on the viewer as on the inmates. It is easy to be swept along.
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