The Guardian's Scores

Select another publication »
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
view
per page
    • 65 Metascore
    • 70 Critic Score
    Scream of Fear
    The plot is nicked from Henri-Georges Clouzot's Les Diaboliques, full of guttering candles, bumps in the night, and the kind of little shocks you hate yourself for jumping at. [08 Nov 2008, p.53]
    • The Guardian
    • 49 Metascore
    • 70 Critic Score
    Voyage to the Bottom of the Sea
    Global warming? Walter Pidgeon's Admiral Nelson has the answer in this lively, colourful sci-fi adventure. [11 Mar 2006, p.53]
    • The Guardian
  3. Elevator to the Gallows
    It is not free of plot-holes...but what a supremely stylish and watchable picture it is.
  4. La Dolce Vita
    It is a brilliant film, but there is nothing sweet about it.
    • 75 Metascore
    • 70 Critic Score
    The Absent Minded Professor
    Wacky, bouncy Disney comedy.
  6. Breathless
    There is simply no other film which demonstrates so perfectly what it feels like to be young and in love.
  7. The Misfits
    For me, the film is itself a bit of misfit, full of big stagey speeches, contrived moments and some overemphatic performances, but opened out with muscular style by Huston. The faces of Gable, Clift and Monroe together in closeup have a Mount Rushmore look to them.
    • 51 Metascore
    • 40 Critic Score
    The Grass Is Greener
    The classy cast is willing enough, but let down by Hugh and Margaret Wilson's stodgy adaptation. [28 Jun 2008, p.53]
    • The Guardian
  9. Spartacus
    A stirring classic.
  10. The Hidden Fortress
    The comedy co-exists with a dark view of life's brevity, and Kurosawa devises exhilarating setpieces and captivating images. Arthouse classics aren't usually as welcoming and entertaining as this.
    • 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.
    • 57 Metascore
    • 70 Critic Score
    Ocean's 11
    Ocean's Eleven is devoid of morality other than a dedication to honour among thieves; it's consistently funny in a way that invites appreciative smiles rather than loud laughter; it's exciting without bringing disagreeable sweat to the palms; it's engaging, but never does anything as vulgar as taking us out of ourselves.
    • 75 Metascore
    • 80 Critic Score
    House of Usher
    The movie, shot in CinemaScope and colour, is punctuated by shocking moments, but is more notable for its claustrophobic, doom-laden, necrophilic atmosphere and elegant camerawork than the kind of fashionable, in-your-face horror that was launched in the same year by Psycho.
  14. The Apartment
    Absolutely brilliant.
  15. 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.
  17. 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.
  18. 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.
  19. North by Northwest
    [A] sublime classic.
  20. 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.
  23. 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.
  24. 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.
  25. 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]
  26. 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
  28. Touch of Evil
    Brilliant.
  29. 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.
  30. 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.
Page:

Top Trailers

See all »
See all trailers »