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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    • 77 Metascore
    • 80 Critic Score
    Zulu
    Zulu is a brilliantly made dramatisation of Rorke's Drift, and it does a fine job of capturing the spirit for which the battle is remembered.
  2. From Russia with Love
    It may seem grainy and fusty compared to the all-action tongue-in-cheek spectaculars that came later, but it's the Bond closest to my heart.
  3. An Autumn Afternoon
    Ozu shows how fragile and yet burdensome the institution of the family is.
    • 54 Metascore
    • 60 Critic Score
    The Evil of Frankenstein
    The Evil Of Frankenstein, directed by camera ace Freddie Francis, looks stunning, although much of its budget was clearly spent on the cracking laboratory set. [20 Oct 2007, p.23]
    • The Guardian
  5. The Servant
    It is a brilliant, subversive account of class relations and the changing times.
  6. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    I can never watch it without a bowel-liquefaction of fear.
    • 83 Metascore
    • 90 Critic Score
    Charade
    For all of its 113 minutes, Charade presents us with a temporary entry into that brighter place, into the possibility of adventure, the vicarious possession of beauty. Acted by two Europeans in a mythic, dangerous, beguiling Paris, it remains a quintessential Hollywood film.
    • 62 Metascore
    • 60 Critic Score
    McLintock!
    One of John Wayne's jobbing westerns, a would-be comic transplanting of The Taming Of The Shrew. [08 Aug 2009, p.53]
    • The Guardian
  9. Knife in the Water
    Roman Polanski's sensational 1962 debut...is an example of how a superlative director makes a film from the simplest materials.
  10. The Haunting
    From a potentially creaky, cliche-filled premise (a gaggle of stereotypes are invited to a spooky old house where all is not as it seems), director Robert Wise leads us on a brilliantly unsettling journey.
    • 93 Metascore
    • 100 Critic Score
    8½
    8 1/2 is probably the most potent movie about film-making, within which fantasy and reality are mixed without obfuscation, and there's a tough argument that belies Fellini's usual felicitous flaccidity.
    • 62 Metascore
    • 60 Critic Score
    The Mouse on the Moon
    Jolly sequel to the superior The Mouse That Roared, which flaunted a Peter Sellers tour de force. This returns to the little Duchy of Fenwick, where the inhabitants - by virtue of their wine, which makes rocket fuel of a rare vintage - beat the superpowers to the moon. [04 Mar 2006, p.53]
    • The Guardian
  13. Cleopatra
    Joseph L Mankiewicz's four-hour Cleopatra is a stately but sometimes mindboggling spectacle. The central moment is the queen's jawdropping entry into Rome, for which Mankiewicz creates a sensational Busby Berkeley fantasy, like the world's biggest Olympic opening ceremony.
    • 78 Metascore
    • 90 Critic Score
    Dr. No
    The other is a scene, improvised on the set, when Bond does a double take on seeing Goya's portrait of the Duke of Wellington (recently stolen from London's National Gallery) in Dr No's palatial living room. It's the funniest moment in any Bond picture and one of cinema's great art jokes.
    • 83 Metascore
    • 80 Critic Score
    Sanjuro
    Mifune's slob is deceptive, and the film builds slowly to a shattering ending.
  16. The Birds
    The essential Hitchcock movie, the purest and most confident, a brilliant distillation of the themes that had fueled him ever since he sent the lodger creeping to his upstairs room.
  17. What Ever Happened to Baby Jane?
    I can't help thinking that the most interesting things happen in the precredit sequence - the fraught childhood, Blanche's sinister "accident" - but it's still vivid, barnstorming stuff.
  18. Cléo from 5 to 7
    A pioneering glory of the new wave.
    • 76 Metascore
    • 80 Critic Score
    The Music Man
    DaCosta's musical is one of the most exuberant and purely enjoyable of the lot. Much of this is down to the infectious energy of Robert Preston, reprising his stage role as smooth-talking conman. [12 Nov 2005, p.53]
    • The Guardian
  20. Lolita
    Although it is often seen as a precursor to the multiple parts played in Dr Strangelove, Sellers' turn here is a reminder of his true potential, soon to be swallowed up by a stream of ever more awful Pink Panther films.
    • 92 Metascore
    • 80 Critic Score
    Ride the High Country
    Peckinpah's marvellous elegiac western incorporates the themes of The Wild Bunch - the end of the old west, friendship and betrayal - but is more moving than his blood-soaked epic. That's mainly down to the two stars, leathery veterans Joel McCrea and Randolph Scott. [12 Aug 2006, p.53]
    • The Guardian
    • 84 Metascore
    • 70 Critic Score
    Through a Glass Darkly
    This is a noble attempt to shed light on a woman's inner struggle for existence. [02 Jul 2011, p.43]
    • The Guardian
    • 58 Metascore
    • 70 Critic Score
    Lover Come Back
    Another glossy, witty battle-of-the-sexes comedy featuring the squeaky-clean Pillow Talk pairing of Rock Hudson and Doris Day. [28 Jan 2006, p.53]
    • The Guardian
  24. Victim
    This gripping thriller, part of the BFI's Bogarde retrospective, daringly smashed through 1961's homosexual taboos, but has weathered best as a study of blackmail and paranoia.
  25. The Innocents
    Filmed with a luminous brilliance by cinematographer Freddie Francis, The Innocents is the apotheosis of old-school Brit spookiness.
    • 79 Metascore
    • 90 Critic Score
    El Cid
    It leaves the facts wounded and strewn haphazardly across the battlefield, but El Cid remains a flat-out terrific movie.
  27. West Side Story
    There is one especially lovely moment. At their first meeting, lovestruck Tony asks Maria if her kindness to him is just a joke. She replies: "I have not yet learned to joke that way. Now I never will." This is a real big-screen event.
  28. Breakfast at Tiffany's
    The movie still looks very good, and you'd need a heart of stone not to love the cat. [Review of re-release]
    • 90 Metascore
    • 90 Critic Score
    The Hustler
    The film is marred slightly by an over-abrupt ending and the irritating device of speeded-up clocks, but these are minor flaws in a film that has grown in stature over the years.
    • 78 Metascore
    • 70 Critic Score
    Pit and the Pendulum
    Corman enhances the narrative with assorted shocks and tinted flashbacks reminiscent of the silent cinema.
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