The Guardian's Scores

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For 6,554 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 6554
  2. Mixed: 3,754 out of 6554
  3. Negative: 319 out of 6554
6554 movie reviews
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  1. Spell
    There’s a cinematic slickness to the film (it was intended to be released theatrically until the pandemic) that separates it from its more noticeably shoddier fright night competitors but it’s mostly a familiar, if not entirely fruitless, trudge down a well-trodden path, one that takes us into, at times, questionable territory.
  2. A Call to Spy
    Thomas and Pilcher are determined to avoid making a flashy war epic, and stress the sacrifices of everyone involved; the downside of this is that A Call to Spy has a stolid pacing that makes you feel every minute of its two-hours-plus running time. But it’s still an interesting story that’s yet to fully come into the light.
  3. The Secret Garden
    This garden is pretty but lifeless.
  4. Summer of 85
    Unlike the woozy love at its centre, Summer of 85 doesn’t haunt in the way that it should. It fades when it should burn.
  5. Helmut Newton: The Bad and the Beautiful
    A fascinating film.
  6. Honest Thief
    This film’s real propulsive, emotional motor is nothing to do with a woman, but rather the age-old entanglement of lawman and outlaw.
  7. Rams
    Rams is a lovely, even-tempered drama about men and rural life, gentle but firm of spirit, with a down-to-earth pith and a way of entertainingly and unpretentiously exploring potentially difficult subjects such as masculinity.
  8. The Craft: Legacy
    There’s ultimately too much in the film’s rushed 94-minute runtime for anything to really breathe.
  9. Borat Subsequent Moviefilm
    The routine is more familiar and the semi-staged stunts – which faintly undermine the credibility of all but the most spectacular moments – are more conspicuous. But there are still some real laughs and pointed political moments on the subject of antisemitism and online Holocaust denial (though I was disappointed to see the film go along with a dodgy “Karen” gag).
  10. The Climb
    Tragedy and slapstick run through the film and it is very funny.
  11. The Witches
    The spell does not get cast.
  12. Blood and Money
    Cinematographer turned director John Barr serves up a generic thriller: the title lets you know that what you’ve got on the label is what you’ve got in the can.
  13. Time
    The point of the film is Sibil’s decades-long ordeal and she emerges with heroic and compelling dignity.
  14. I'm Your Woman
    Even when it’s coasting, the cast still works hard to sell what they’re given and it remains visually handsome until the very end, an immersive and slickly captured last-act car chase proving a standout.
  15. The Devil Has a Name
    Any poignance Stern’s David-v-Goliath fight might have possessed is undermined by a flowery script that’s over-fond of quick comebacks. To hear Bosworth curl her lips around some of these zingers though, almost makes for a fair trade-off.
  16. White Riot
    An excellent brief documentary about a heroic grassroots political movement whose importance reveals itself more clearly in retrospect with every year that passes.
  17. Over the Moon
    It’s all very spectacular – but nothing much happens in the second half, and back on Earth, the movie’s message about loss and the power of letting go feels over-sweetened, more Disney than Disney.
  18. Rebecca
    Rebecca 2.0 is sometimes quite enjoyable in all its silliness and campiness and brassiness, and in some ways, gets closer to the narrative shape of the original novel than the Hitchcock film, which rather truncated the third act.
  19. Under the Shadow
    It is elegantly shot and very well acted. A definite frisson.
  20. 2067
    If all the money in the world is no guarantee of a good story, all the technical innovations – the dressing of sets, the creation of effects, the careful management of what is in and out of the frame – is of course no guarantee of one either.
  21. The Kid Detective
    In writer-director Evan Morgan’s unusual neo-noir The Kid Detective, it’s not just a suspect or a motive that’s a red herring, it’s an entire genre, a strange rug-pull of a movie that starts in the middle of the road before ending up off a cliff, in a way that both works and doesn’t, a fascinating gambit nonetheless.
  22. French Exit
    A defiantly unbelievable and drably directed heap of quirk that’s as overstuffed as it is underpowered, a head-scratching failure for all involved.
  23. Soul
    It’s a deeply sweet, happy, gentle film.
  24. Nocturne
    Nocturne is simpatico with a protagonist who, in lieu of greatness, decides to steal – then play it like she owns it. An elegant, forking finale proves as much.
  25. Evil Eye
    With scant visual bite, perhaps it should’ve been called Evil Ear.
  26. Sylvie's Love
    It’s a film that both looks and feels the part, a handsomely made love story that’s easy to fall in love with.
  27. Kajillionaire
    I have taken some time to acclimatise to her distinctive, affectlessly sentimental film-making, but it is growing on me, and Kajillionaire is intriguing.
  28. I Am Woman
    It is a lean and likeable, if slight and a little trite, celebration of the legendary Australian-American singer, feminist and anthem-creator Helen Reddy, shot with a rich neo-noirish texture by Oscar-winning cinematographer Dion Beebe.
  29. The War with Grandpa
    It’s a very minor victory to report that rather than being bad, it’s merely bland, an adequate milquetoast time-waster for a very young and very undiscerning audience.
  30. South Terminal
    An intriguing, somewhat abstract drama about a country descending into chaos.
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