The Guardian's Scores

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For 6,556 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: 2,481 out of 6556
  2. Mixed: 3,756 out of 6556
  3. Negative: 319 out of 6556
6556 movie reviews
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    • 83 Metascore
    • 70 Critic Score
    Shanghai Express
    This melodrama the director weakens by mistaking postponement of event for suspense. But the film has compensating strength in the star, who photographs more beautifully than before and, though she is acted off the screen by Anna May Wong, shows herself unique in Hollywood by being majestically beautiful.
  2. Dr. Jekyll and Mr. Hyde
    A classic, not to be missed.
    • 73 Metascore
    • 90 Critic Score
    Mata Hari
    Garbo is deliciously watchable in this fictionalised but nonetheless well-researched biopic.
    • 80 Metascore
    • 100 Critic Score
    The Public Enemy
    The deepest appeal of this 74-minute study in insolence is that Cagney is cock of the walk.
  5. All Quiet on the Western Front
    An ambitious epic of tremendous sweep and scope, with trench-warfare battle scenes comparable to Kubrick's Paths of Glory.
  6. Man with a Movie Camera
    The combustion engine gave humanity the new experience of speed; now the movie camera gave us a dizzying new speed of perception and creation.
    • 98 Metascore
    • 100 Critic Score
    The Passion of Joan of Arc
    The last silent film by Danish master Carl Theodor Dreyer, it largely eschewed traditional master shots for a dazzling range of expressive, character-probing close-ups: no historical biopic has ever felt quite so unnervingly intimate.
  8. The Lodger: A Story of the London Fog
    Hitchcock's 1926 silent melodrama offers a gripping prehistory not just of his own work, but the Hollywood thriller itself.
  9. Sunrise
    FW Murnau's classic 1927 silent is one of the first movies with a really substantial feature-length narrative: an exuberant pioneer picture conceived on a big canvas, blazing an inspirational trail for just about everything Hollywood has done since. [06 Feb 2004, p.15]
    • The Guardian
    • 71 Metascore
    • 80 Critic Score
    The Ring
    The Ring is a showcase for the young Hitchcock's editing panache: the experimental, Soviet-influenced montage that would surface so violently in Psycho. [04 Jul 2012]
    • The Guardian
  11. Battleship Potemkin
    Eisenstein's film still has a hypnotic urgency.
    • 76 Metascore
    • 80 Critic Score
    A Woman of Paris: A Drama of Fate
    A Woman of Paris is a remarkable film, an historic film, a film to see and consider. But, it is wintry, and not everyone will find it to his liking.
    • 99 Metascore
    • 100 Critic Score
    Intolerance
    A powerful humane statement and a towering work of art.
  14. Return to Ithaca
    It is a bit stagey, but heartfelt and well acted.
  15. The Lure
    [A] thin, slightly exasperating documentary.
  16. Distance
    This is a diffuse film, and lacks Afterlife's clinching motif. It is uncertain in both its tone and its message - if, indeed, any such message exists, or even needs to.... There is something melancholy and resonant about this film, and it has its own subtle, unsettling effect. [22 Aug 2001, p.12]
    • The Guardian
  17. The Odyssey
    It’s a handsome film, but in the end perhaps Wes Anderson’s pastiche approach in The Life Aquatic (in which Bill Murray’s character is a tribute to Cousteau) more vividly brought to life the era of the last great adventurer-superstars.
  18. I Love You, Daddy
    It contrives to be a very funny and recklessly provocative homage to Woody Allen, channelling his masterpiece Manhattan and brilliantly finding a fictional way to tackle his personal reputation head-on.
  19. The Jungle Bunch
    Loud and zappy, The Jungle Bunch trots out predictable be-kind-be-brave platitudes, but lacks anything distinctive of its own.
  20. The Seventh Continent (1989)
    A chilling and utterly brilliant film whose final, excoriating sequence is frankly sufficient on its own to justify the genius tag.
  21. Ferrari: Race to Immortality
    As a film, it’s altogether keener to Turtle Wax the brand than stop for even a moment to examine what Ferrari the man, logo and company ever stood for.
    • 66 Metascore
    • 80 Critic Score
    Our New President
    It’ll annoy many with its refusal to take a stance beyond the absurdity of it all, but that lack of easy outrage makes it a true original. An important documentary for our times too, taking us deep into the heart of a bubble far from our own.
  23. The Nothing Factory
    Worryingly, there is an actual film-maker in the story who appears to be intervening in the action and The Nothing Factory appears to retreat into self-reference when it could be offering concrete ideas on the issue of people keeping their jobs.
  24. Utoya: July 22
    It is an absorbing and moving tribute to the courage of the young victims of Utøya.
  25. Season of the Devil
    Season of the Devil is the work of a real auteur: every millisecond of his film has been rigorously created. There are moments of dreamlike intensity and the despair of the period is genuinely conveyed. Only the strongest devotee of Diaz could however deny the presence of longueurs in this film.
  26. Mug
    Mug is a strange, engaging film – well and potently acted and directed, a drama that puts you inside its extended community with a mix of robust realism and a streak of fantasy comedy.
  27. Born and Bred
    Trapero creates a cinematic eco-system that moment by moment, scene by subtle scene, completely enfolds you.
  28. Bergman: A Year in a Life
    There are some riveting revelations here.
  29. Mosley: It's Complicated
    The film feels more like an authorised biography than a documentary, and for that reason it’s a little dull.
  30. Days and Nights in the Forest
    Ray's language of cinema is a kind of miraculous vernacular, all his own. It has mystery, eroticism and delight.
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