The Guardian's Scores

For 3,128 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Trainspotting
Lowest review score: 20 Table 19
Score distribution:
3128 movie reviews
  1. There are some comedies that seem to have been rubbed all over with an anti-funny, anti-romance Kryptonite. This is one. It’s the cinematic equivalent of elevator muzak – a festival of glam-smug with zero chemistry between any of its three leads.
  2. What propels us past the cliches of Intuition is a desire to see just how it all ties together, an assumption that a story as busily plotted as this must have an ace up its sleeve. But the last act is all fizzle, played out predictably with a mundanity that no amount of sweeping aerial shots can disguise.
  3. If you’re looking for a definitive Dalai Lama documentary, this narrow-focus film about his lifelong passion for science probably won’t cut it.
  4. While it’s far from the firestarter it could have been, there’s more to this than its release would suggest, an angry, slickly directed thriller that still manages to generate enough of a spark.
  5. The period trappings – which must have cost a bomb – are lush and smartly deployed without being heavy-handed, and the two young leads are very watchable.
  6. Here’s a true story about a young soldier’s exceptional bravery and sacrifice made into a pretty average war movie, insubstantial and TV-ish despite the appearance of some decorated Hollywood veterans.
  7. If you’re a parent whose screen-time rules have crumbled in lockdown, under no circumstances watch this film until normal service resumes.
  8. Sometimes a seemingly unprepossessing genre film comes along that has finer qualities than you would expect. Such is the case here.
  9. It’s an amusing and diverting film that, with a series of ellipses and jumps, finally takes us to an unexpected world of fear and grief – and then back again, to stylised unseriousness. An engaging debut, which Sendijarević will follow up with more substance to go with the style.
    • 57 Metascore
    • 40 Critic Score
    At times it really does feel a lot more like an SD card dump than an exercise in storytelling.
  10. Nanijani and Rae work well together, although “chemistry” is perhaps a stretch.
  11. It comes from the age of Straw Dogs and A Clockwork Orange, but none of those movies can match the sheer hardcore shock of the Australian New Wave nightmare Wake in Fright from 1971.
  12. While a younger audience might be enthralled by the fast pace and bright colour palette, those understandably curious adults sitting nearby will find themselves watching in horror, a deep, sorrowful howl emerging.
  13. This dorky, silly sci-fi feature offers a weird blend of high-grade craftsmanship (especially from the visual effects, cinematography and music departments), and guileless ineptitude, especially in the crucial realms of screenwriting, acting and editing.
  14. It’s an interesting film, which Trank tops off with a contrived finale of bizarre, spectacular (and contrived) violence, yet the woozy slipping-into-dementia-fantasy sequences, although striking, mean sometimes that the visual impact of what we are seeing is sometimes lessened, as we wait to see if it is really happening or not.
  15. It is commonplace to say that some films are scary and mad. But this really is scary and mad.
  16. The story has the makings of a gripping adventure, but something is lacking.
  17. The narrative focus is frustratingly split between Ben’s family and Abbie’s, and the result is a non-frightening muddle.
  18. The film’s spareness has lasting power – as Skylar and Autumn boarded the bus home, I realized I had been clenching my jaw the whole movie. It’s a testament to Hittman’s portrayal of fear and frustration in navigating American reproductive healthcare as a teen. I just wish her characters had more to say about it.
  19. Like the structure at its centre, Spaceship Earth is a smart concept that never really takes off.
  20. Onwubolu avoids the usual flash and posturing in favour of a careful, rooted storytelling, finding subtly different perspectives on gang life, and offering his characters as many ways out as there are ways in.
  21. This is Obama’s own film, so we can’t expect any tough scrutiny.
  22. I would have loved to hear Kennedy on the tricky subjects of fusion cuisine or cultural appropriation. But there’s more than enough here to get your teeth into.
  23. Ema
    While I confess that I found Ema to be a notch down on his best work, it’s still hugely distinctive and daring and may well be a grower.
  24. All Day and a Night is a weightier alternative to the average Netflix original and while imperfectly realised and scrappily plotted at times, it’s another promising sign that, away from the easy-to-digest content, there’s room on the platform for much much more.
  25. It’s pacy enough to secure at least our divided attention, competently trotting along in the background revealing surprises that aren’t really that surprising, like a pulpy, well-worn airplane novel that you guiltily devour in a day.
  26. The Half of It is a strong, warm-hearted and quietly progressive addition to the expanding Netflix teen movie pack which treats its target audience with the respect they deserve.
  27. Barnaby’s colonialist take on the formula is far from subtle, and at times a little too bluntly on the nose, but he’s a film-maker with both something to say and the skillset to say it in a distinctive way, offering up an initially engaging alternative to mere guts and shock tactics.
  28. Offering a set-piece every 10 minutes, a twist every 30, it’s pure pulp, but Vega knows how to sell it, and there are pearls of wisdom amid the nastiness. You’ll flinch, you’ll squirm, you’ll learn how to increase your survival chances should you be doused in gasoline and set alight.
  29. The film’s plausibility-level isn’t perhaps as high as all that (it really works best as a period piece from the pre-2008 crash) but Kross brings to it a jaded, corrupted glamour.

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