The Guardian's Scores

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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:
  1. Positive: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. Merv
    As it is, Merv is slight and sweet and entirely to expectations. Making a movie about co-parenting a dog is not a bad idea – though I wouldn’t say it’s a great one, either.
  2. Fackham Hall
    This enjoyable silver-spoon romp packs all of its 97 minutes with jokes and bits ranging from the puerile to the genuinely funny, proving that there may yet be more to wring from eat-the-rich satire.
  3. The Tale of Silyan
    Kotevska depicts the growing bond between man and bird with warmth and humour, and while the musical score is a bit on the sappy side, there are enough drolly astringent touches to make this cockle-warming family viewing, if you have a family that likes stories of unhappy agrarian workers.
  4. Little Trouble Girls
    This is an utterly absorbing and outstandingly acted film.
  5. Cover-Up
    Hersh emerges as a tough, combative, peppery personality from this movie.
  6. Oh. What. Fun.
    Nothing can distract us from a script that just doesn’t work, family dynamics we don’t believe, jokes we don’t laugh at and characters we don’t care about. Oh. What. Fun. is anything but.
  7. Five Nights at Freddy's 2
    Like a lot of movies, Five Nights at Freddy’s 2 has its own souvenir popcorn bucket. This may be the first one where the bucket is more entertaining than the feature.
  8. Folktales
    What seems to be most therapeutic is their contact with the dogs. As one teacher puts it: “You are more than good enough for that dog just the way you are.”
  9. Magazine Dreams
    Magazine Dreams itself, though flawed by a cumbersome flashback structure in which he is talking to a counsellor, has powerful moments and Majors is very good, especially in the bizarre scene when Killian insists on going onstage at a bodybuilding event just after being beaten up.
  10. Prime Minister
    The sad thing is that there doesn’t appear to be much space for someone like Ardern in modern politics; less space than ever in fact.
  11. Marty Supreme
    The pure craziness is a marvel.
  12. Wake Up Dead Man: A Knives Out Mystery
    As with the previous Knives Out films, the characters are not, in fact, equally important and equally capable of murder. An inner core of suspects emerges and their guilt discloses itself incrementally at the end, as opposed to being withheld for a final reveal. What a treat though, with cracking turns from one and all and O’Connor the first among equals.
  13. Jingle Bell Heist
    It’s the problem faced when one of these films is raised just above the gutter-level norm, you end up wanting it to be that much better. As it stands, Jingle Bell Heist is as good as it’s getting for now.
  14. Christy
    Sweeney has already shown what a superb and detailed performer she is in the FBI interrogation movie Reality, but this is far inferior: a stodgy, lifeless piece of work.
  15. Sirât
    Sirāt is a path to nowhere, an improvised spectacle in the Sahara; it is very impressive in the opening 10 minutes but valueless as it proceeds, and a pointless mirage of unearned emotion.
  16. Zootopia 2
    There are a few laughs in Z2: of course there are. But they are algorithmically generated and corporately approved. It’s the kind of movie you put on an iPad to keep the children quiet on a long plane or train journey; nothing wrong with that of course, but the heart and soul are lacking.
  17. Cutting Through Rocks
    While we might want to hear more about the specific cultural geography of the Azeri Turk community to which Shahverdi belongs, this remains a thought-provoking portrait of an extraordinary spirit.
  18. The Thing with Feathers
    Quite simply: when the crow is off the screen, the drama starts to be involving and affecting. Once the crow is there, the film looks self-conscious.
  19. Sisu: Road to Revenge
    The good news is that it remains terrific: punchy, old-school stunt work, crisply uncluttered cutting, and varied, inventive baddie-splattering from the moment Aatami deploys one of those beams to take down a jet fighter.
  20. Champagne Problems
    The gimmicks are unfunny, the romance inoffensive, the happy-ever-after straightforward. For all its waxing poetic on the specific luxury of champagne, no one is pretending this is anything other than a mass market item; the things to hate are also the things to like. One might call a critic’s feelings about it a champagne problem.
  21. A Desert
    Director Joshua Erkman’s feature debut manages to deliver an impressively creepy horror exercise that’s also a bit of a send-up of horror conventions.
  22. 3 Wishes for Christmas
    One could list all the film’s shortcomings, but that would be like pulling wings off a fairly harmless moth.
  23. Bone Lake
    It always feels as if the people making this movie are having fun, and while that’s never a guarantee that the audience will too, it’s certainly the case here.
  24. Wicked: For Good
    What a performance from Erivo; it is genuinely moving when the Prince has to convince Elphaba what we, the audience, have always known: that she is beautiful.
  25. Adulthood
    The package has a nasty little swagger that makes it a nice counterpoint to all the holiday cheer coming our way.
  26. Come See Me in the Good Light
    White smartly weaves Gibson’s evolution as a poet and performer, commanding stages like a rockstar –“we called them the gay James Dean,” Falley jokes – with their hopes to stage one final show, a celebration of life before their death.
  27. The Carpenter's Son
    It’s all so hard to define not because it’s too brave and original to fit into the system, but because it’s never all that clear that anyone involved knows what the hell they’re making. Whatever their answers might be, I’m positive that Nathan and Cage didn’t aim to deliver something quite so dull.
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