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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  1. Persona
    Persona is a film to make you shiver with fascination, or incomprehension, or desire.
    • 58 Metascore
    • 40 Critic Score
    One Million Years B.C.
    Harryhausen's dinosaurs are well worth a look, but the rest of One Million Years BC will bore the furry pants off anyone more advanced than a Neanderthal.
    • 82 Metascore
    • 90 Critic Score
    Blow-Up
    Blow-up is still an absolute must, such is the degree of visual and intellectual excitement of the film.
    • 72 Metascore
    • 80 Critic Score
    A Man for All Seasons
    This 1966 drama ticks most of the right boxes when it comes to entertaining as well as educating.
    • 63 Metascore
    • 60 Critic Score
    What's Up, Tiger Lily?
    Woody Allen acquired the rights to a terrible Japanese Bond-style extravaganza, re-edited it and provided an incongruous soundtrack full of New York Jewish gags. The joke wears thin, but there are good laughs along the way. Allen's then-wife Louise Lasser and friend Mickey Knox help out.
    • 93 Metascore
    • 80 Critic Score
    Band of Outsiders
    No matter how ironic and artificial the script, there's a lovely sadness in the corners of Karina's eyes, which makes many of the films they did together more hers than his.
    • 69 Metascore
    • 40 Critic Score
    Doctor Zhivago
    Even granting the enormous difficulty of adapting such a long and complex book, I do not see how a worse job could have been done. Jack–rabbiting along in fits and starts, it gives one the feeling that the book has been arbitrarily chopped up into an irrelevant series of scenes, attempting an unsuccessful compromise between intimacy and the epic.
  8. King & Country
    This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.
  9. Darling
    John Schlesinger’s winsome adventure from 1965 still has verve and ambition, a romantic satire of swinging London.
  10. The Ipcress File
    Caine's star-quality and absolute ease in front of the camera are fully formed.
    • 80 Metascore
    • 80 Critic Score
    The Train
    This long, exciting second world war thriller (based on a true-life incident involving art conservationist Rose Valland, who appears briefly in its opening sequence) has particular present-day relevance in view of the mindless destruction of art works and ancient ruins by Islamic State and our responses to these iconoclastic barbarities.
  12. The Sound of Music
    Robert Wise's adaptation of the Rodgers and Hammerstein musical still has a little soul in its bones, with its reactionary nature tempered by Ernest Lehman's supple screenplay, and its elephantine running-time eased by a set of songs that lodge in your system like hookworms.
    • 49 Metascore
    • 60 Critic Score
    None But the Brave
    The anti-war sentiment is overplayed, but it's a good gritty war drama for all that. [08 Oct 2005, p.53]
    • The Guardian
    • 61 Metascore
    • 80 Critic Score
    36 Hours
    George Seaton's 1964 36 Hours is complete tosh but clever and zestful tosh, and there's not a lot of that about. [13 Apr 1999, p.20]
    • The Guardian
    • 87 Metascore
    • 100 Critic Score
    Goldfinger
    Not just my favourite Bond movie, but the standard by which all other Bond movies must be judged. It has Sean Connery, of course, and the best theme song, incorporating Shirley Bassey and lashings of John Barry brass...And it has the best villain.
    • 88 Metascore
    • 90 Critic Score
    Mary Poppins
    Tomlinson is the great heart of the movie, the warmth to Andrews’ splinter of ice, who, while sustaining the film’s line in jokey verbosity, still manages to be moving.
    • 77 Metascore
    • 80 Critic Score
    Zulu
    Zulu is a brilliantly made dramatisation of Rorke's Drift, and it does a fine job of capturing the spirit for which the battle is remembered.
  18. From Russia with Love
    It may seem grainy and fusty compared to the all-action tongue-in-cheek spectaculars that came later, but it's the Bond closest to my heart.
  19. An Autumn Afternoon
    Ozu shows how fragile and yet burdensome the institution of the family is.
    • 54 Metascore
    • 60 Critic Score
    The Evil of Frankenstein
    The Evil Of Frankenstein, directed by camera ace Freddie Francis, looks stunning, although much of its budget was clearly spent on the cracking laboratory set. [20 Oct 2007, p.23]
    • The Guardian
  21. The Servant
    It is a brilliant, subversive account of class relations and the changing times.
  22. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    I can never watch it without a bowel-liquefaction of fear.
    • 83 Metascore
    • 90 Critic Score
    Charade
    For all of its 113 minutes, Charade presents us with a temporary entry into that brighter place, into the possibility of adventure, the vicarious possession of beauty. Acted by two Europeans in a mythic, dangerous, beguiling Paris, it remains a quintessential Hollywood film.
    • 62 Metascore
    • 60 Critic Score
    McLintock!
    One of John Wayne's jobbing westerns, a would-be comic transplanting of The Taming Of The Shrew. [08 Aug 2009, p.53]
    • The Guardian
  25. Knife in the Water
    Roman Polanski's sensational 1962 debut...is an example of how a superlative director makes a film from the simplest materials.
  26. The Haunting
    From a potentially creaky, cliche-filled premise (a gaggle of stereotypes are invited to a spooky old house where all is not as it seems), director Robert Wise leads us on a brilliantly unsettling journey.
    • 93 Metascore
    • 100 Critic Score
    8½
    8 1/2 is probably the most potent movie about film-making, within which fantasy and reality are mixed without obfuscation, and there's a tough argument that belies Fellini's usual felicitous flaccidity.
    • 62 Metascore
    • 60 Critic Score
    The Mouse on the Moon
    Jolly sequel to the superior The Mouse That Roared, which flaunted a Peter Sellers tour de force. This returns to the little Duchy of Fenwick, where the inhabitants - by virtue of their wine, which makes rocket fuel of a rare vintage - beat the superpowers to the moon. [04 Mar 2006, p.53]
    • The Guardian
  29. Cleopatra
    Joseph L Mankiewicz's four-hour Cleopatra is a stately but sometimes mindboggling spectacle. The central moment is the queen's jawdropping entry into Rome, for which Mankiewicz creates a sensational Busby Berkeley fantasy, like the world's biggest Olympic opening ceremony.
    • 78 Metascore
    • 90 Critic Score
    Dr. No
    The other is a scene, improvised on the set, when Bond does a double take on seeing Goya's portrait of the Duke of Wellington (recently stolen from London's National Gallery) in Dr No's palatial living room. It's the funniest moment in any Bond picture and one of cinema's great art jokes.
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