The Guardian's Scores

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For 6,554 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 6554
  2. Mixed: 3,754 out of 6554
  3. Negative: 319 out of 6554
6554 movie reviews
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  1. The Blues Brothers
    The stunts are still awe-inspiring, and there's plenty of laughs. They really were thinking big.
  2. The Shining
    The unhurried pace, extended dialogue scenes and those sudden, sinister inter-titles ("One Month Later", "4pm") contribute to the insidious unease. Nicholson's performance as the abusive father who is tipped over the edge is a thrillingly scabrous, black-comic turn, and the final shot of his face in daylight is a masterstroke...Deeply scary and strange.
    • 82 Metascore
    • 60 Critic Score
    Star Wars: Episode V - The Empire Strikes Back
    A cast-iron, self-evident hit, but also just a tiny bit boring, perhaps?
  4. Wise Blood
    John Huston's hellfire burlesque is one of the great lost films of the 1970s and a movie to stand alongside his Maltese Falcon or The Treasure of the Sierra Madre.
  5. Mad Max
    Mad Max has always radiated an otherworldly vibe, a slightly sickly sensation that something at its core is fundamentally wrong.
    • 61 Metascore
    • 90 Critic Score
    The Jerk
    Like Woody Allen's "Take The Money and Run", The Jerk is basically designed to allow Martin to use as many of his standup jokes and routines as possible, but his charm and timing makes this cleverly constructed movie seem fantastically loose and easy.
  7. Star Trek: The Motion Picture
    It’s a bit overextended but very watchable with flourishes of exotic invention.
    • 85 Metascore
    • 80 Critic Score
    Vengeance Is Mine
    Mysterious, complex and brilliant: the disquieting portrait of a serial killer, seducer and con-man in Japan whose motivation remains an enigma. [9 Sept 2005, p.13]
    • The Guardian
  9. Nosferatu the Vampyre
    This is Herzog's journey to the heart of darkness, a film that specifically echoes his earlier offerings The Enigma of Kaspar Hauser and his South American odyssey Aguirre, Wrath of God.
  10. Monty Python's Life of Brian
    But what a triumph this film was for Chapman, who gave a convincing, touching performance as the bewildered everyman who decides to make a stand, and in his battle with the evil empire makes a Luke Skywalker-style discovery about his lineage. Life of Brian is an unexpectedly earnest, sweet-natured hymn to the idea of tolerance.
  11. My Brilliant Career
    The film itself is a kind of free spirit, and one that has made an indelible print on Australian cinema.
  12. Apocalypse Now
    A film that needs to be seen on the big screen.
  13. Breaking Away
    The film is fun and stirring; a robust portrait of youth at the crossroads and a bittersweet salute to the town at its centre.
  14. Alien
    Editors Terry Rawlings and Peter Weatherley cut the film so cleverly so that we never have a clear notion of what the alien actually looks like until the very last shots.
  15. Escape from Alcatraz
    Dirty Harry director Don Siegel reunited with Clint Eastwood for this taut 1979 thriller about real-life bank robber Frank Morris, who led the one possibly successful (bodies were never found) escape attempt from the notorious maximum-security prison on San Francisco's Alcatraz Island.
    • 66 Metascore
    • 70 Critic Score
    The Driller Killer
    If Ferrara is indeed a Van Gogh, then The Driller Killer is his Potato Eaters – an early work that displays, in rudimentary form, all the groundbreaking innovation of the mature works.
    • 64 Metascore
    • 80 Critic Score
    Beneath the Valley of the Ultra-Vixens
    Above all, everyone in a Meyer film looks like they're having an absolutely great time.
  18. Long Weekend
    A masterpiece in minimalist horror.
    • 81 Metascore
    • 80 Critic Score
    The China Syndrome
    Very convincing, deeply disturbing tale. [31 Dec 2005, p.49]
    • The Guardian
  20. Superman
    This Superman alludes explicitly to its origins in the Depression-era comics, and Clark has a quaint 30s habit of using the phrase “Swell!” from his boyhood. Maybe now this movie looks quaint in the same way. But there’s still a surge of adventure and fun.
  21. The Deer Hunter
    The idea of sacrifice permeates everything, along with the cruelty and horror. This is Cimino's masterpiece.
  22. Halloween
    The unmasking "reveal" at the beginning of the movie is a great coup, and the film continues to be very scary, helped by Carpenter's own theme: a trebly plinking of piano notes and that buzzy synth in low register.
  23. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
    The silence of Jeanne Dielman is the film’s weather and its atmosphere. It is a silence of terrible loneliness, and a silence in which a storm is gathering.
  24. Days of Heaven
    The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]
  25. Animal House
    A period piece, still reasonably funny.
    • 54 Metascore
    • 80 Critic Score
    Big Wednesday
    Maybe in the end it's just an exuberant collection of great scenes – but what Big Wednesday has is heart.
    • 64 Metascore
    • 70 Critic Score
    The Fury
    Like The Man Who Knew Too Much, The Fury yokes together a spy thriller and a domestic drama while also incorporating elements of SF and horror.
  28. Eraserhead
    It's beautiful and strange, with its profoundly disturbing ambient sound design of industrial groaning, as if filmed inside some collapsing factory or gigantic dying organism.
    • 70 Metascore
    • 90 Critic Score
    The Duellists
    A splendid recreation of Napoleonic France and a compelling movie to boot.
  30. Opening Night
    Woody Allen said that he could watch a Bergman movie and feel himself gripped as if by a thriller; that's how I felt watching this restored version of John Cassavetes's 1977 picture Opening Night.
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