The Guardian's Scores

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For 6,577 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 2.2 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: 2,494 out of 6577
  2. Mixed: 3,764 out of 6577
  3. Negative: 319 out of 6577
6577 movie reviews
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  1. Three Billboards Outside Ebbing, Missouri
    Those familiar with McDonagh’s work will be unsurprised to learn that Three Billboards is a bold and showboating affair, robustly drawn and richly written; a violent carnival of small-town American life. Yet it has a big, beating heart, even a rough-edged compassion for its brawling inhabitants.
  2. BPM (Beats Per Minute)
    This film has what its title implies: a heartbeat. It is full of cinematic life.
  3. Happy End
    It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.
  4. Loveless
    Andrei Zvyagintsev’s Loveless is a stark, mysterious and terrifying story of spiritual catastrophe: a drama with the ostensible form of a procedural crime thriller. It has a hypnotic intensity and unbearable ambiguity which is maintained until the very end.
  5. The Florida Project
    While minimal on plot, the film digs in its nails on the day-to-day struggles of poor people in America.
  6. Gone with the Wind
    Some elements seem grotesquely dated, but this restoration of the 1939 classic finds the film as powerful and mad as ever.
  7. Casablanca
    Seventy years on, this great romantic noir is still grippingly powerful: a movie made at a time when it was far from clear the Nazis were going to lose.
  8. Faces Places
    If there’s a message in Visages, Villages (both to us, and from Varda to her young friend) is that one does not need to be a tortured and nasty person to make great art. She is living and still-working proof.
    • 86 Metascore
    • 100 Critic Score
    Blow Out
    This is one of the finest films about the process of movie-making, a bleak, complex work that gives Travolta his most challenging role.
    • 57 Metascore
    • 100 Critic Score
    The Thing
    The menace of the dark polar night and the claustrophobic confines of the base are utilised to raise the fear, tension and paranoia to unbearable heights. This is a creature that doesn't just hide in the dark, but could be your friend, your colleague, or the girl beside you whose hand you are breaking in a terrified vice-like grip.
    • 97 Metascore
    • 100 Critic Score
    Psycho
    It was Anthony Perkins's maternally obsessed misfit in Psycho who most perfectly distilled the modern fear of the monster who looks just like you.
  12. It's a Wonderful Life
    The film is gripping enough simply with the telling of George's lifestory. A genuine American classic.
  13. Stand by Me
    The resulting adventure – bizarre, mysterious and moving – is about lost youth and the recovery of innocence through writing and memory. It is also one of those vanishingly rare films where child actors have to carry almost the entire drama.
    • 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.
    • 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.
  16. Spartacus
    A stirring classic.
  17. 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.
    • 91 Metascore
    • 100 Critic Score
    After Life
    Afterlife is an immensely suggestive picture about the role of memory, the function of cinema and the limits of our imagination.
  19. No Time to Die
    No Time To Die is startling, exotically self-aware, funny and confident, and perhaps most of all it is big: big action, big laughs, big stunts and however digitally it may have been contrived, and however wildly far-fetched, No Time To Die looks like it is taking place in the real world, a huge wide open space that we’re all longing for.
    • 74 Metascore
    • 100 Critic Score
    Dressed to Kill
    This ingenious erotic thriller full of unexpected shocks is best seen with no foreknowledge and even better at a second viewing.
  21. The Death of Stalin
    The Death Of Stalin is superbly cast, and acted with icy and ruthless force by an A-list lineup. There are no weak links. Each has a plum role; each squeezes every gorgeous horrible drop.
  22. Chariots of Fire
    A bold, intelligent, romantic film with all the lineaments of a classic, and a score by Vangelis as instantly hummable as the music for Jaws.
  23. Sicario: Day of the Soldado
    This movie channels the paranoia and bad faith that’s in the air at the moment and converts it into a thriller of visceral hostility and overwhelming nihilism. It’s all killer, no filler.
    • 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.
    • 86 Metascore
    • 100 Critic Score
    Strong Island
    It would be too simplistic to call it brave. Ford excels, and shows us why we should be angry at America’s indifference to dead black men. The documentary won’t bring William Ford back, and it may give Yance Ford some catharsis, but more importantly it could and should lead to greater justice and empowerment.
  26. EX LIBRIS: The New York Public Library
    Ex Libris rolls out like a collection of short films.... It’s like watching Wiseman skip along through the stacks of all accumulated human knowledge.
  27. Sweet Country
    This is fiercely powerful storytelling, simple and muscular in one way, but also conveying nuance and sophistication in its depiction of character.
  28. Zama
    [Martel's] film is haunted, haunting and admittedly prone to the occasional longueur insofar as it runs to its own peculiar rhythm; maybe even its own primal logic.
  29. Ad Astra
    It’s an extraordinary picture, steely and unbending and assembled with an unmistakable air of wild-eyed zealotry. Ad Astra, be warned, is going all the way - and it double-dares us to buckle up for the trip.
  30. 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.
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