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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    • 75 Metascore
    • 80 Critic Score
    The Landlord
    A still wonderfully penetrating, wise and exact meditation on race relations at the end of the 1960s.
    • 72 Metascore
    • 80 Critic Score
    Let It Be
    Neither an overlooked masterpiece nor the disaster the Beatles and the critics thought, it’s finally getting a fair shake. [2024 Restored Version]
  3. Mandabi
    Mandabi features an excellent performance from Guèye, who is innocent and culpable all at once. This is gentle, walking-pace cinema that leads us by the hand from vignette to vignette, from scene to scene, presented to us with ingenuous simplicity and calm.
    • 86 Metascore
    • 80 Critic Score
    Patton
    It bends a few facts, and occasionally slips towards satire. But, for the most part, this is a remarkably enjoyable - and commendably fair - biopic of an unforgettable character. They don't make many films, or indeed generals, like this any more.
  5. The Sterile Cuckoo
    An interesting feature, almost a B-side to The Graduate in its way, without the predatory older characters.
  6. The Italian Job
    The brio and ambition of The Italian Job can’t be doubted and Caine has enormous charisma.
    • 87 Metascore
    • 90 Critic Score
    Medium Cool
    Medium Cool encapsulates the divisive issues of race and poverty that remain as urgent today as they did in 1968. It also makes us think about the way the media shape our lives and are used to deflect public attention from sustained political action.
    • 83 Metascore
    • 80 Critic Score
    True Grit
    Hathaway moseys rather than gallops along with a charming blend of comedy, action and sentiment; and in Robert Duvall there is a bad guy eminently worth shooting. [24 Dec 2005, p.48]
    • The Guardian
    • 79 Metascore
    • 90 Critic Score
    Midnight Cowboy
    This is really Schlesinger's achievement. He has caught on film a slice of America as well, if not better, than one had any right to expect.
  10. Salesman
    If you want a genuinely Millerian cinematic experience, the best way to go is to get hold of Salesman, a 1968 documentary made by Albert and David Maysles, along with Charlotte Zwerin. 
    • 56 Metascore
    • 70 Critic Score
    Support Your Local Sheriff!
    Lawman James Garner with only drunken Jack Elam by his side takes on town heavies Walter Brennan, Bruce Dern and their gunmen: it has a Hawksian, sub-Rio Bravo ring, but this is an affectionate and funny parody of such westerns. [25 Mar 2006, p.53]
    • The Guardian
    • 61 Metascore
    • 60 Critic Score
    The Assassination Bureau
    Done in a hip, glossy, none-too-witty style, though the support acts - Curt Jurgens, Philippe Noiret, Warren Mitchell, Telly Savalas - help it along.
  13. Where Eagles Dare
    The development of Bond films in the early 1960s brought a new dimension to espionage-oriented cinema. Where Eagles Dare brings these strands together - fusing the spy story with war action - and helped create a wave of patriotic cold war thrillers that arguably climaxed with The Spy Who Loved Me.
    • 74 Metascore
    • 80 Critic Score
    Oliver!
    Some of the set pieces are overdone but the final scenes take on an almost operatic quality.
    • 81 Metascore
    • 100 Critic Score
    Bullitt
    Blessed with the fresh eyes of newly landed Englishman Yates (and genius cameraman William Fraker), the movie makes San Francisco fresh and alive, but also completely remakes and modernises the bleak, sleazy gangster demimonde in which Bullitt does his hunting.
    • 66 Metascore
    • 60 Critic Score
    The Boston Strangler
    Harrowing, low-key dramatisation of the serial killer's reign of terror in Boston in the early 1960s. [07 Aug 2004, p.53]
    • The Guardian
  17. Romeo and Juliet
    This has elegance, vigour and charm.
  18. Night of the Living Dead
    It remains a nightmare experience that’s not easily brushed off. And despite its ramshackle scrappiness in production terms, and some dated gender politics, the storytelling is first class, pitching us straight into the action, but only revealing its full hand gradually.
  19. Funny Girl
    While the 1960s swung, this spirited, good-natured but creakily old-fashioned picture lived in a different zeitgeist.
    • 96 Metascore
    • 100 Critic Score
    Rosemary's Baby
    This is horror rooted not in misty Carpathian castles, but in recognisable modern life, with the satanists depicted not as outlandish fiends but the sort of everyday folk you might encounter on any urban street.
    • 79 Metascore
    • 60 Critic Score
    Planet of the Apes
    A promising idea, and yet ultimately too cute: it is a one-to-one allegory, and this much of the film is spent exploring this not very rewarding vein.
  22. 2001: A Space Odyssey
    Something in its mandarin blankness and balletic vastness, and refusal to trade in the emollient dramatic forms of human interest and human sympathy. Kubrick leaves usual considerations behind with his readiness to imagine a post-human future.
    • 63 Metascore
    • 70 Critic Score
    Spider Baby or, the Maddest Story Ever Told
    Director Jack Hill went on to make plenty of classic exploitation movies, such as the more marketable Foxy Brown and Switchblade Sisters, but Spider Baby is him at his trashy, most eccentric best. [15 Jun 2013, p.23]
    • The Guardian
  24. The Graduate
    The excellence of Katherine Ross as Mrs Robinson’s daughter, Elaine, is often overlooked. A hugely pleasurable film.
    • 92 Metascore
    • 80 Critic Score
    Cool Hand Luke
    Paul Newman is at his charismatic best as convict Luke Jackson, fighting to maintain inner freedom despite the brutalities of a deep south chain gang. Much in the style of the old Warner Bros melodramas, the hardnut action here is lightened by a funny streak, as in the celebrated hard-boiled egg-eating contest. [31 Aug 2013, p.46]
    • The Guardian
  26. Point Blank
    An intriguing, disorientating 60s artefact.
  27. In the Heat of the Night
    The sheer tactlessness of its racial confrontation has a forthright quality and a not entirely intentional documentary realism, especially in the scenes shot on location in Sparta, Illinois (standing in for a fictional Mississippi town).
    • 61 Metascore
    • 90 Critic Score
    You Only Live Twice
    What I can say for sure is You Only Live Twice is the Bond film I have seen most often and I have enjoyed the hell out it every single time.
  29. Chimes at Midnight
    Playing Falstaff might have been Welles’s creative and physical destiny: in the character he found a dignity and sensuality in his, by then, overweight form. The confidence and panache of his staging is a treat.
    • 63 Metascore
    • 80 Critic Score
    Frankenstein Created Woman
    Terence Fisher conjures up his customary dark fairytale atmosphere in one of Hammer’s best Frankenstein sequels. 
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