The Guardian's Scores

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For 6,561 reviews, this publication has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% 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: 2,484 out of 6561
  2. Mixed: 3,758 out of 6561
  3. Negative: 319 out of 6561
6561 movie reviews
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    • 76 Metascore
    • 80 Critic Score
    The Iceman Cometh
    One of the best movies in the American Film Theatre Collection. [22 Aug 2004, p.12]
    • The Guardian
  2. Badlands
    An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  3. Mean Streets
    The movie's blazing energy is still astounding; the vérité street-scenes are terrific and Scorsese's pioneering use of popular music is genuinely thrilling.
  4. Playtime
    Playtime offers us an even clearer view of the contrast between Tati’s broad physical comedy as an actor and his superbly cerebral detachment as a director.
    • 70 Metascore
    • 80 Critic Score
    The Offence
    The atmosphere and performances are sustained at a terrifying pitch, and the movie ends suddenly, leaving the audience to deal with the ideas and emotions aroused.
  6. Scarecrow
    This is a jewel of American cinema.
    • 81 Metascore
    • 80 Critic Score
    Theater of Blood
    Grand Guignol with nobs on: Vincent Price hams epically as bloodlusting luvvie Edward Lionheart, who with wacky daughter Diana Rigg starts taking gruesome revenge on the critics. One by one he dispatches them in macabre variations on great Shakespearean death scenes. [05 May 2007, p.53]
    • The Guardian
    • 87 Metascore
    • 90 Critic Score
    The Long Goodbye
    Superbly photographed by Vilmos Zsigmond in a desaturated colour that echoes a bygone age, The Long Goodbye is an elegant, chilly, deliberately heartless movie.
  9. The Harder They Come
    The reggae soundtrack throbs and crunches and shudders in concert with the raw energy of Henzell’s storytelling and Cliff’s performance, but this doesn’t preclude a shrewdly self-aware debate about representation.
    • 80 Metascore
    • 100 Critic Score
    Deliverance
    For all the furious excitement of its river-rafting sequences, and the harshness and humiliation of its explosive central rape scene, Deliverance is an elegiac movie, mourning the rural mountain culture soon to be inundated by a new hydro-electric dam.
    • 90 Metascore
    • 100 Critic Score
    Le Samouraï
    Le Samourai is as efficient a piece of cinema as it is darkly romantic.
    • 47 Metascore
    • 50 Critic Score
    Children Shouldn't Play with Dead Things
    It's an obvious rip-off of George Romero's superior 1968 film, Night of the Living Dead, but it doesn't take itself too seriously. [12 Apr 2007, p.34]
    • The Guardian
    • 65 Metascore
    • 80 Critic Score
    The Other
    Mulligan knows how to lead us up and down the garden paths of his bucolic world, and as with Psycho you need a second viewing to appreciate the various skills that have gone into this movie.
  14. Buck and the Preacher
    The forthright, punchy screenplay shows Kinoy’s TV background, but there is a galloping energy to the whole drama.
  15. The Godfather
    Coppola’s epic storytelling sweep is magnificent: there is an electric charge in simply the shift from New York to California to Sicily and back to New York.
  16. Tokyo Story
    [Hara's] sad dignity and emotional generosity are compelling.
    • 67 Metascore
    • 70 Critic Score
    Silent Running
    The screenplay by Deric Washburn and Michael Cimino (later to collaborate on The Deer Hunter) and Steven Bochco (of subsequent Hill Street Blues fame) delivers its ecological message with humour and imagination, and Joan Baez sings the appropriate songs.
    • 65 Metascore
    • 80 Critic Score
    The Hot Rock
    Yates paces the fast-moving thrills with precision. [25 Apr 2009, p.53]
    • The Guardian
  19. A Clockwork Orange
    Flawed or not, it is a compelling thought experiment.
    • 62 Metascore
    • 80 Critic Score
    Harold and Maude
    It's to director Hal Ashby's credit that he succeeds in maintaining an unsettling tone of pre-Lynchian absurdism throughout, while also pulling the viewer into a touching love story between perhaps the most unlikely couple in cinema history.
    • 57 Metascore
    • 60 Critic Score
    Nicholas and Alexandra
    Nicholas and Alexandra boasts terrific performances and gorgeous production design, but it's bloated and unwieldy. There is more history here than the film-makers know what to do with.
  22. Duel
    It takes less than a minute of watching Duel, Steven Spielberg's feature-length debut, to realize you're in the hands of a master director.
    • 57 Metascore
    • 60 Critic Score
    200 Motels
    Thankfully, Zappa was a far better composer than he was a movie director. Whereas the film, with its self-indulgent and incoherent celebrations of drink, drugs and groupies and its tiresomely scatological bent, was largely gale-force gibberish, its sprawling soundtrack, dissonant and atonal but rich in wit and humour, has aged surprisingly well.
  24. The Last Picture Show
    Peter Bogdanovich's 1971 ode to a Texan small town is still a masterpiece whichever way you look at it.
  25. The French Connection
    The final moments of The French Connection are a powerful, even magnificent repudiation of the modern piety of redemption and sympathy. It is a stunningly nihilist ending, one to set alongside Polanski's Chinatown.
    • 49 Metascore
    • 80 Critic Score
    The Devils
    There is much to irritate in the film, but it's bold, individual and a landmark in British cinema, with outstanding performances.
    • 89 Metascore
    • 100 Critic Score
    Two-Lane Blacktop
    Two-Lane Blacktop should have established Hellman as one of the great directors of his generation. Instead, its box-office failure made him an enduring cult figure.
  28. Walkabout
    Roeg revels in the hallucinatory, creating a wilderness that exists as much in the mind as it does the land.
  29. McCabe & Mrs. Miller
    If anything, Robert Altman's self-styled "anti-western" looks even richer, stranger and more daring than it did when it first appeared back in 1971.
    • 61 Metascore
    • 70 Critic Score
    The Anderson Tapes
    A clever caper movie. [08 Oct 2011, p.46]
    • The Guardian
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