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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    • 96 Metascore
    • 90 Critic Score
    Fantasia
    Fantasia is mashed potatoes and gravy but there's more than a hint of beluga there too.
    • 89 Metascore
    • 80 Critic Score
    Foreign Correspondent
    A breathless yarn with the most serious of intents that soars well beyond mediocrity but just below genius, yet remains a film that I feel should be included on the master of suspense's top table.
    • 73 Metascore
    • 60 Critic Score
    Waterloo Bridge
    Glossy MGM weepie, a tale of loving sacrifice in the first world war to warm the cockles in the dark days of the second. [16 Dec 2006, p.53]
    • The Guardian
    • 78 Metascore
    • 90 Critic Score
    Remember the Night
    Blessed with a characteristically brut champagne script by Preston Sturges, Mitchell Leisen’s Remember the Night is special even by the bright standards of the romantic comedies that Hollywood studios pulled off so breezily in 1940. It’s the cinematic equivalent of oven-warm gingerbread.
    • 94 Metascore
    • 100 Critic Score
    His Girl Friday
    With great verbal athleticism, the film earns its reputation as one of the fastest-talking comedies ever made.
  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. The Shop Around the Corner
    This is a sharp, elegant, unsentimental picture in which Stewart plays a character who is often gloomy and downright unsympathetic.
  8. The Wizard of Oz
    Despite its earnest endorsement of the idea that there's no place like home ... well, frankly there are plenty of places like boring old home, but nothing's like Oz.
  9. Only Angels Have Wings
    It is an eccentric and entertaining movie soap-opera.
    • 93 Metascore
    • 90 Critic Score
    Stagecoach
    Stagecoach remains a tale for our times.
  11. The Lady Vanishes
    A pleasure.
    • 91 Metascore
    • 100 Critic Score
    Bringing Up Baby
    Bringing Up Baby is very funny. It leaves one in awe at the speed and timing of Grant and Hepburn, as well as their goofy, lopsided humanity...Don't trust the public to recognise a masterpiece.
    • 82 Metascore
    • 80 Critic Score
    My Man Godfrey
    The humour in My Man Godfrey is madcap, but in the best way.
  14. A Tale of Two Cities
    Vintage screen Dickens with a cutting edge: the French terror is vividly, hauntingly realised, all chaos and guillotine ghouls. [16 Aug 2000, p.23]
    • The Guardian
  15. Top Hat
    Top Hat reflects a transatlantic kind of universe, the Brit dimension absorbed into American waspy class, and sweetened with some mannered comedy; this was a Hollywood that loved PG Wodehouse.
  16. The 39 Steps
    It is witty, daring and exuberant; like his hero, Hitchcock shows himself to be energetic and resourceful in dealing with changes in locale. [11 Apr 2008, p.10]
    • The Guardian
    • 95 Metascore
    • 90 Critic Score
    The Bride of Frankenstein
    Bride is a wild ride, even today. It flits between the classical and the gutter, the camp and the serious in a manner that's hard to pin down.
    • 66 Metascore
    • 70 Critic Score
    Roberta
    Scintillating partnership of Fred Astaire and Ginger Rogers, here still in supporting roles (to Irene Dunne), gives substance to otherwise flimsy fashion-set musical. [04 Oct 1990]
    • The Guardian
  19. It Happened One Night
    As buoyant and elegant as bubbles in a glass of champagne, Frank Capra's sublime 1934 comedy, written by long-time collaborator Robert Riskin, survives triumphantly because of its wit, charm, romantic idealism and its shrewd sketch of married life.
  20. Duck Soup
    The sheer silliness is inspired.
  21. The Invisible Man
    The Invisible Man boasts a brilliantly chill and confident performance from (an almost entirely unseen) Claude Rains and a gloriously over-the-top supporting turn from Una O'Connor as his inquisitive landlady. Moreover, its tart, acid tone largely honours the spirit of the novel.
    • 83 Metascore
    • 80 Critic Score
    Horse Feathers
    The movie is packed with brilliant, logic-chopping dialogue and surreal visual gags that, though familiar and often quoted, come up fresh at each viewing, none funnier than Harpo getting money from a phone as if it were a fruit machine.
  23. Freaks
    Freaks is filled with poignancy; it offers a premonition of eugenics, as well as a provocative comparison with the alienated condition of women and the freakish nature of all showbiz celebrity. It is a work of genius.
    • 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.
  25. 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.
  28. 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.
  29. 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.
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