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. Private Property
    Private Property’s vicious form of prurience may make some queasy, and is hardly the type of movie that could get made today without great backlash, but there’s definitely more going on here than mere time-capsule curiosity.
    • 62 Metascore
    • 60 Critic Score
    The Mummy
    Alternately corny and magical, scary and comic, naive and perverse, elegant and clumsy, The Mummy is always stylish and atmospheric, and Cushing and Lee became enduring world stars.
  3. Shadows
    It's a cool customer – the hip lingo and fast-talking characters all of a piece with its bebop score – but there's a scrupulous honesty to the story, too.
  4. Look Back in Anger
    Sixty years on, the big-screen adaptation of the landmark play looks more conservative than revolutionary but Burton’s firepower is undimmed.
  5. North by Northwest
    [A] sublime classic.
  6. Anatomy of a Murder
    Otto Preminger's fiercely austere courtroom drama was strong stuff in 1959.
    • 88 Metascore
    • 90 Critic Score
    Wild Strawberries
    Wild Strawberries, which, while scarcely a bag of laughs, has a compassionate view of life that best illustrates the more optimistic side of Bergman's puzzled humanity.
    • 93 Metascore
    • 100 Critic Score
    Rio Bravo
    Over the course of Rio Bravo we are treated to an entertainment masterclass, a high watermark of Hollywood cinema in its heyday.
  9. Some Like It Hot
    Reinvented by Wilder and co-screenwriter co-writer IAL Diamond, Some Like It Hot is effortlessly fluent, joyous and buoyant: a high-concept comedy that stays as high as a kite, while other comedies flag. "Nobody's perfect" is the last line. Wilder, Lemmon, Curtis and Monroe come pretty close.
  10. The Seventh Seal
    Ingmar Bergman's dark masterpiece effortlessly sees off the revisionists and the satirists; it is a radical work of art that reaches back to scripture, to Cervantes and to Shakespeare to create a new dramatic idiom of its own.
  11. Vertigo
    Vertigo also combines in an almost unique balance Hitchcock’s brash flair for psychological shocks with his elegant genius for dapper stylishness. Like Psycho, it ends in an “o”, or maybe “oh!” The ancient house adjoining the Bates motel in Psycho certainly has an unearthly similarity to San Francisco’s creepy old McKitterick Hotel in Vertigo. [Rerelease]
  12. Horror of Dracula
    It's often entertainingly creepy in a twilit world of its own.
    • 62 Metascore
    • 70 Critic Score
    Run Silent Run Deep
    Hairy-chested drama aboard a US submarine, cruising dodgy Pacific waters after the attack on Pearl Harbor. Clark Gable is impressive as sole survivor of a sunk sub, given command of another. [06 May 2006, p.53]
    • The Guardian
  14. Touch of Evil
    Brilliant.
  15. Cairo Station
    Chahine conducts his big cast with uproarious energy, immediacy and freshness; he has tremendous stylised set pieces, including a railway-carriage rock'n'roll number performed by a group gloriously credited as Mike and his Skyrockets.
  16. Paths of Glory
    It is arguably the best film about the first world war, and still has a reasonable claim to being Stanley Kubrick's best film.
    • 76 Metascore
    • 80 Critic Score
    Time Limit
    This Korean war drama was as taut and gripping as one of [Malden's] performances, containing many of the pros and cons of his acting style, fervent but sometimes overemphatic. [02 Jul 2009]
    • The Guardian
    • 71 Metascore
    • 80 Critic Score
    An Affair to Remember
    For those of us who like to immerse ourselves in sense-assaulting love stories, this 1957 Leo McCarey classic is as good as it gets.
    • 65 Metascore
    • 80 Critic Score
    The Curse of Frankenstein
    Cushing relishes the role of his career as the sociopathic dandy whose passion for science overrides all moral considerations, while Christopher Lee conveys the dire plight of the creature through body language alone.
    • 84 Metascore
    • 80 Critic Score
    Giant
    It must be added that Giant, in spite of its length, seldom seems long – its story is too eventful, its effects too picturesque, and its director too skilful for that even over so long an expanse of time. It may not be a great film but it is certainly an awesome one.
  21. Seven Samurai
    The glorious vigour and strength of this film is presented with such theatrical relish and flair: its energy flashes out of the screen like a sword.
    • 68 Metascore
    • 60 Critic Score
    Lust for Life
    A watchable biopic, backed up with excellent historical research.
  23. High Society
    Wonderful entertainment.
    • 91 Metascore
    • 80 Critic Score
    The Killing
    Thematically, The Killing anticipates themes, motifs and incidents to come in Kubrick’s oeuvre, most famously the notion of master plans undone by human fallibility, that are also to be found in the tales of fate and life’s absurdity of by his mentors Lang and Huston.
    • 76 Metascore
    • 70 Critic Score
    The Man Who Knew Too Much
    The second version of The Man Who Knew Too Much, which Hitchcock made in 1956, is a curious film. Some of it doesn't really work.
    • 61 Metascore
    • 60 Critic Score
    Godzilla, King of the Monsters!
    The Americans got hold of the much superior Japanese original, Godzilla, and edited into it 20 minutes-worth of Burr, with his vacant and oddly stiff expression, in order to spice things up. Still, without Godzilla: King of the Monsters!, the awesome cinematic hero might have remained a merely regional success, a giant Japanese lizard confined to its own country.
  27. The Quatermass Xperiment
    This forthright and watchable picture, with its terrific cast of veteran players such as Jack Warner, Thora Hird and the totemic Sam Kydd, is entirely happy in its own B-movie skin, with the “X” in “Xperiment” gleefully signalling its identity as a pulp shocker.
    • 80 Metascore
    • 60 Critic Score
    Forbidden Planet
    Impressively made though some of the acting lets it down: Robbie's a real scene-stealer. [04 Mar 2006, p.53]
    • The Guardian
    • 88 Metascore
    • 90 Critic Score
    Richard III
    Olivier has made a superbly dramatic film, in which by variations of tempo, by superb acting on the part of the awe-inspiring cast, and by a wonderful knack of indicating the side-shows while maintaining the main theme of Richard's own drama, he has cheated the clock. His long film never, or hardly ever, seems long.
  30. The Ladykillers
    It's a film with jazz in its bones and rhythm to its beats.
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