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. 76 Days
    76 Days is not a hard-hitting documentary about the centre of the Covid-19 pandemic – maybe such a film will be slower to arrive than the vaccine – but it’s a potent human-interest story, and a portrait of a city under siege.
  2. Monday
    All of this film’s various moods – erotic, euphoric, tragic – are unearned and despite what is clearly strenuous effort from the performers themselves, the acting is hammy and undirected.
  3. Small Axe: Lovers Rock
    McQueen’s compositional sense is a marvel; the movie’s period and location is evoked with masterly skill, and the romance is wonderful. What a cure for lockdown depression.
  4. Residue
    Residue is a fleeting and haunting lament for what is lost to gentrification, and other tolls on black life in America. But at the same, it’s exhilarating and monumental, laced with the sensation that we’re discovering a bold and sensitive new voice.
  5. H is for Happiness
    There is much to appreciate in this film; much to like. You don’t just watch it in big bright colours; you remember it in big bright colours too.
  6. I Am Greta
    Despite being a valuable reminder of Thunberg’s idealism and unselfconscious courage, the film doesn’t entirely work.
  7. The Eight Hundred
    With so much intense focus lavished on the action, there’s none to spare for the characters’ emotional lives, and it’s hard to care much about who lives or dies.
  8. The Devil All the Time
    There is something weirdly pointless about it all, and there is a kind of tonal gap where, in another kind of film, the humour might go – which would counterweight the nasty violence. But it sure does pack a punch.
  9. The Truffle Hunters
    A strange, funny, mysterious and rather beautiful film about an activity that’s recherché to say the least.
  10. Mandibles
    Mandibules is a rollicking, rambunctious tequila-dream of a movie.
  11. Limbo
    What a thoroughly wonderful sophomore feature from the British director Ben Sharrock – witty, poignant, marvellously composed and shot, moving and even weirdly gripping.
  12. Bill & Ted Face the Music
    It’s amiably amusing, and Bill and Ted’s Peter Pannish inability to accept the ageing process is enjoyably surreal, with a weird tinge of not-entirely-intentional tragedy.
  13. Concrete Cowboy
    This is an old-fashioned father-son story and none the worse for that, but there is something a little slick and subdued about the way the story is resolved.
  14. Hopper/Welles
    The restored footage is an intriguing relic – an offcut, raw copy. There’s something pleasingly voyeuristic about the experience of being allowed behind the velvet rope to watch these blusterers hold forth, although I expect their charms may be limited to die-hard devotees.
  15. Final Account
    Explicitly, his film shows how a hundred shades of grey combine to make a darkness. Implicitly, it warns that it could well happen again.
  16. Another Round
    The performances are persuasive and watchable, especially Mikkelsen, the guys’ alpha-leader, who ruinously makes being drunk look pretty acceptable until it is too late.
  17. Cuties
    The film and its accusers turn out to be on the same side: Mignonnes attacks the pornification of girls and young women by social media and society in general; it is about the false promise of liberation in this kind of sexualised display. The offending scenes are gruesomely unwatchable – deliberately so.
  18. The Duke
    What a lovely, rousing, finally moving film this is.
  19. Apples
    What prevents Apples from becoming a simple Lanthimos copycat is its comparative kindness and its abiding direction of travel.
  20. And Tomorrow the Entire World
    The tale drifts and falters when I wished it would have hit home with more conviction, but that may be partly the point. The struggle is endless, unwinnable. Everybody is compromised.
  21. The World to Come
    The World to Come is a ravishingly beautiful love story set in 1850s America, with painterly visuals that nod to the work of Winslow Homer and John Singer Sargent.
  22. The Roads Not Taken
    Sally Potter’s The Roads Not Taken is a sad, painful, self-conscious vignette of a film with forthright performances; it’s a chamber piece in many ways, but with bold flashback excursions that come close to causing its emotional engine to overheat.
  23. The Painted Bird
    The Painted Bird is a brutal kind of ordeal, but eerie, unearthly and even beautiful sometimes: a bad dream that leaks into waking reality.
  24. Sun Children
    Energetic and heartfelt, tipping towards tragedy, Sun Children crawls through the mud and emerges all the stronger. The quest is a red herring; the real treasure is the film.
  25. Padrenostro
    What can’t be faulted is Noce’s sheer boldness and ambition. If Padrenostro winds up as a bit of a mess, it’s a beautiful mess, a glorious mess.
  26. The Disciple
    I wish that I enjoyed The Disciple as much as I admired it. The film is a labour of love insofar as it feels overthought and overburdened, with all the rough edges planed down.
  27. Nomadland
    Chloé Zhao’s Nomadland is an utterly inspired docu-fictional hybrid, like her previous feature The Rider. It is a gentle, compassionate, questioning film about the American soul.
  28. Ammonite
    It is a love story that is also a fascinating artefact: quixotic, romantic, erotic.
  29. David Byrne’s American Utopia
    There is no moment where Byrne dramatically opens up, either on stage or off, but perhaps that’s not the point. It’s a treat for Byrne fans, and could well make converts.
  30. Unpregnant
    It’s an uneven ride, rocky in places, but it’s one that’s also unquestionably worthwhile, a progressive, witty and timely way of reminding many of us how antiquated women’s healthcare still is while also alerting a younger audience that there’s more to the teen movie than Netflix.
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