The Guardian's Scores

Select another publication »
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
view
per page
  1. Blue Miracle
    It’s the sort of old-fashioned string-puller that when done well is hard to resist even if we know the strings are being pulled, like we’re aware of the bait but powerless to resist.
  2. The Conjuring: The Devil Made Me Do It
    A handsomely made return to form for a series that had been showing signs of fatigue.
  3. Earwig and the Witch
    There are some nice touches here and there, like the whirling little demons with batwings who are devoted to Mandrake. But the script ignores all the interesting bits of the story – who are the witches chasing Earwig’s mum and how does she shake them off?
  4. Sir Alex Ferguson: Never Give In
    With less gripping subject matter, this might have been a so-so bit of club memorabilia. As it is, it can’t help but be gripping.
  5. Shepherd: The Story of a Jewish Dog
    It succeeds in walking the tonal high beam without falling into soul-destroying bleakness on one side or a saccharinely fake happy ending on the other. That’s no mean feat.
  6. Cruella
    There’s an unexpectedly huge amount of old-fashioned fun to be had in Disney’s spectacular new origin-myth story.
  7. The 8th
    Pro-choice activists won with a campaign that declined to go negative, and, indeed, may have benefited from the attraction of its exuberant “Yes” motif. Now they face decades of vigilance to defend their gains.
  8. Vanquish
    Rose looks great – her androgynous poise reminiscent of the young Angelina Jolie – and does a capable job carrying Vanquish. But you wonder if this noir-filtered, John Wick-apeing thriller is a little too stripped-back for its own good to advance her career.
  9. Drunk Bus
    Believable performances, along with a deep understanding of place, lend Drunk Bus a cheeriness that is entertaining and heartwarming.
  10. In the Heights
    It’s impossible to object to In the Heights with its almost childlike innocence. Ramos is very good and it is great to see Stephanie Beatriz (from TV’s Brooklyn Nine-Nine) and Dascha Polanco (from Orange Is the New Black) round out the supporting cast. But this is a pretty quaint image of street life, whose unrealities probably worked better on stage.
  11. The Dog Who Wouldn't Be Quiet
    This film is enigmatic and yet very digestible, deadpan in its comedy and so insouciant and casual in its form, you might almost think that Katz had written it in five minutes, filmed it in a week. There is real artistry here.
  12. The Human Factor
    It’s a blow-by-blow account in measured – but nailbiting – detail, told by the American diplomats in charge of the high-stakes negotiations. You could imagine John le Carré basing a character on one of these polite, ferociously bright people.
  13. State Funeral
    The faces are the most intriguing thing. Loznitsa gives us a montage of inscrutability and repressed anxiety.
  14. Rare Beasts
    Rare Beasts is a bold experiment in nerve-jangling confrontation: it has the structure and ingredients of romantic comedy but turns everything on its head.
  15. PG: Psycho Goreman
    It’s no surprise to learn Kostanski has worked as a special makeup artist on bigger budget projects such as Suicide Squad and It, but this proves he has a way with actors as much as a knack for latex and fake blood.
  16. P!nk: All I Know So Far
    There is little narrative, beyond the Wembley gig approaching; and, more crucially, little conflict, outer or inner.
  17. Spring Blossom
    Where some might praise an Eric Rohmer-style lightness of touch, others might see a certain slightness. And at barely 70 minutes, this is a fleeting affair in every sense. Perhaps that’s the point.
  18. Sequin in a Blue Room
    That Sequin in a Blue Room was director Samuel van Grinsven’s graduate project is astonishing considering the film’s inspired visual panache, and the eroticism of the explicit depictions of casual sex. Leach’s performance in his first film acting credit is equally impressive; the way in which Sequin’s swagger gradually drains from his face to expose an inner vulnerability is incredibly moving.
  19. A Quiet Place Part II
    The dual storylines are wrapped up together ingeniously with images and ideas slyly implanted at the very beginning. And there are some jump scares that had me Fosbury-flopping out of my seat with a yelp.
  20. Peter Rabbit 2: The Runaway
    It can sometimes be cute or zany and briefly send itself up, but there is fundamentally something pretty straight in its DNA.
  21. Enfant Terrible
    It gives you a good idea of what a nightmare he must have been to work for, and the 24/7 tumult that drove his work. Fassbinder was the nearest an auteur came to punk rock.
  22. The Woman in the Window
    Curiosity might bring you here but boredom will drive you away.
  23. The Human Voice
    Swinton’s delivery has a theatrical style – it very much feels as if we could be watching a stage show – and there is something frozenly despairing about it; it is the voice of someone who is unwilling to relinquish her dignity or rationality and just give in to an aria of sadness.
  24. Some Kind of Heaven
    Director Lance Oppenheim takes a gentle approach, capturing some hilarious moments, but there’s nothing patronising or mean-spirited about his film.
  25. Oxygen
    In some ways, this works better without the metaphorical reading – as just a far-fetched, but quite ingenious entertainment, with some bold climactic touches.
  26. Spiral: From the Book of Saw
    It’s all so rushed and half-assed, like it was cobbled together on the fly rather than intricately plotted out, stupidly written and worst of all increasingly dull, a fitting end to a rotten pile of guts that’s less book of Saw and more novelisation. Game over.
  27. Those Who Wish Me Dead
    It’s a fierce, muscular piece of work, not a million miles from something like the Coens’ No Country for Old Men.
  28. Undergods
    A riptide of surrealism runs through Chino Moya’s ambitious debut feature, a fantasy suite of tales that don’t so much interlock as butt into one another and blurt out alarming, dreamlike correspondences.
  29. Army of the Dead
    It’s all just one monumental splatterfest, where the zombies’ army of the dead face off against people who aren’t very alive, and all basically without jokes.
  30. The Water Man
    Premiering as one of the more proudly mainstream offerings at this year’s Toronto film festival, David Oyelowo’s sweet-natured family adventure The Water Man gives us our first look at a commercial conductor in training, aiming to excite and thrill with adventure while making an unashamed appeal to our emotions shortly after, a Spielbergian combination that many have tried and failed to perfect.
Page:

Top Trailers

See all »
See all trailers »