The Guardian's Scores

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:
6656 movie reviews
  1. Director-producer team David Bickerstaff and Phil Grabsky are past masters at putting this kind of film together, and Sunflowers has the usual mix of smoothly impressive visuals and authoritatively informed comment.
  2. It’s a shame that, for all of its unnerving tonal registers, not to mention a gorgeous score, Agony winds up with a painfully predictable ending.
  3. There’s nothing quite so naff and depressing as a British comedy misfire, and Me, Myself and Di is the real deal: a miserably unfunny romcom about Bolton’s answer to Bridget Jones.
  4. This is a documentary about Australian motor sports legend Jack Brabham that aims to finesse the usual greatest-hits highlights by including some darker material: family strife, on-track bad behaviour, behind-the-scenes fallouts.
  5. Not just a valuable crash course in digital-age hermeneutics, this is a gauntlet thrown down to film-makers with an old-fashioned belief in the truth.
  6. Edge of the World fails to do justice to this fascinating and deeply complex chapter in British colonial history.
  7. There are some almost-laughs here and there, but please tell me that we aren’t in for The Hitman’s Mother-In-Law’s Agent’s Bodyguard in 2023.
  8. It’s a dry and somewhat lifeless tableau.
  9. It’s the worst kind of soulless committee-made product, lazy and risk-free, that need never and will never be thought of again. Infinite? Not even close.
  10. Despite a few modish touches, this feels fundamentally very old-school, and not necessarily in a good way, right down to the repeated shots of people running away from fireballs in the background.
  11. Even viewers who might find 6ix9ine and his gangbanger nonsense repugnant can still find much to admire in this well-made film essay.
  12. Its effects are essentially theatrical – but they are powerfully achieved, and the performances from Hopkins and Colman are superb. It is a film about grief and what it means to grieve for someone who is still alive.
  13. The film is maybe a little callow, but it’s an undoubtedly impressive and accomplished debut.
  14. It has to be said that Nobody rattles enjoyably and bone-crunchingly along and as for Odenkirk, this career turn more or less pays off. He never tries to be macho exactly, and spends a lot of his time flinching and scowling at all the cuts and bruises on his face.
  15. It’s all torturously uninteresting, a plodding retread that never once explains or justifies why it made the leap from “what if?” to actual full-length movie.
  16. The important thing is to be disturbed.
  17. This is a candid, sober, well-acted debut by the first-time director Ruthy Pribar.
  18. This pulpy multiverse brain-teaser is reasonably compelling to watch – at least in this reality. In another, it’s straight to video garbage, and in yet another, it’s won the Palme d’Or.
  19. The final endgame is a little unsatisfying, but this is a very interesting debut for McCarthy.
  20. Machoian, who is also the editor, composes each scene with studied care and Oscar Ignacio Jiménez’s clear, crisp cinematography and framing is beautifully achieved. This is a compelling portrait of a toxic marriage.
  21. It’s a valuable portrait of a great risk-taker.
  22. Forgettable story aside, the film is a visual treat, full of joy and zaniness.
  23. The mystery of other people’s lives, the unbridgeable gulf between us all – even, or especially, between married couples – is the subject of this outstanding drama from first-time film-maker Aleem Khan.
  24. This movie gets a real gallop on, due to the sheer warmth of its performances.
  25. The secret life of farm animals remains a secret, but a fascinating and even poignant one, in this strange and unexpectedly subtle film from the Russian documentary-maker Viktor Kossakovsky.
  26. This sharply crafted piece talks the talk and finally threatens to walk the walk.

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