The Guardian's Scores

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For 6,656 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: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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    • 66 Metascore
    • 80 Critic Score
    Dark Star
    It's a smart, cynical look at space travel, treating it as a blue-collar job and not a divine calling as Kubrick and others would have you believe.
  2. The Exorcist
    The Exorcist is diabolically inspired: it’s still capable of making you jump and yelp.
  3. The Sting
    The Sting is the most purely enjoyable film in Oscar history – and that, I think, puts it in the most valuable American film-making tradition of all.
    • 86 Metascore
    • 80 Critic Score
    The Last Detail
    A poignant, funny male-bonding tale, adapted by Robert Towne from Darryl Ponicsan's novel. [21 Dec 2013, p.54]
    • The Guardian
  5. Don't Look Now
    Sutherland and Christie are an overwhelmingly convincing married couple.
    • 83 Metascore
    • 80 Critic Score
    Serpico
    One of the grittiest, least romantic movies ever shot in New York, it's incisively edited by Dede Allen, whose work ranges from The Hustler to Reds.
  7. The Holy Mountain
    A plumply overripe fruit of the counterculture, dripping with the juices of spiritual rebellion, semi-comic posturing, consciousness-raising and all-around freakiness.
    • 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
  9. Badlands
    An unmissable, transcendentally beautiful classic. [28 Aug. 1998]
  10. 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.
  11. 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.
  13. 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.
  16. 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.
  21. Buck and the Preacher
    The forthright, punchy screenplay shows Kinoy’s TV background, but there is a galloping energy to the whole drama.
  22. 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.
  23. 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
  26. 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.
  29. 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.
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