The Guardian's Scores

For 1,993 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Scarecrow
Lowest review score: 20 Independence Day: Resurgence
Score distribution:
1993 movie reviews
  1. After all those false dawns, non-comebacks and semi-successful Euro jeux d'esprit, Allen has produced an outstanding movie, immensely satisfying and absorbing, and set squarely on American turf: that is, partly in San Francisco and partly in New York.
  2. An enormous pleasure. The performances are so fresh and natural – yet so subtle and delicately judged. The direction is superb in its control and the cinematography creates a gripping docu-realist vision.
  3. It’s impossible not to be swept along and caught by the details: the pompous army officer falling into the barrel, the anarchist (played by a young Klaus Kinski) watching an old couple affectionately cuddling on the train, Zhivago himself suddenly shocked at his own haggard reflection in the mirror. Lean was hunting big game, and catching it.
  4. What an astonishing achievement; what a beautiful movie.
  5. 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.
  6. This is an extraordinary record. But be warned. Once seen, these images cannot be unseen.
    • 97 Metascore
    • 100 Critic Score
    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.
  7. While formally quite different from his more universally-respected early work, Chi-Raq has the exuberance and wit you’ll find in Do The Right Thing and Crooklyn. It’s the best film he’s made in a very long time.
  8. The film is gripping enough simply with the telling of George's lifestory. A genuine American classic.
  9. It’s a beguiling mix of animated storytelling and narration that doesn’t flinch from exploring the emotional highs and lows that accompany a life with autism.
    • 100 Metascore
    • 100 Critic Score
    What's extraordinary, for a film that works on these different levels, is that it also manages to be a riveting thriller.
  10. It is actually Assayas’s best film for a long time, and Stewart’s best performance to date.
  11. Anomalisa is a movie with wit to burn (look out for the Sarah Brightman line and the meeting room pit) and enough incidental touches that the total achievement feels immense.
  12. Only God Forgives will, understandably, have people running for the exits, and running for the hills. It is very violent, but Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.
  13. It is a demanding film, without a doubt – but a passionate one.
  14. [A] sublime classic.
  15. It wasn’t until I saw Threads that I found that something on screen could make me break out in a cold, shivering sweat and keep me in that condition for 20 minutes, followed by weeks of depression and anxiety.
  16. It is a brilliant, subversive account of class relations and the changing times.
  17. The material is superb, Neil Innes’ music is tremendous and Gilliam’s animations are timelessly brilliant.
  18. It is even better than the first film, and has the greatest single final scene in Hollywood history, a real coup de cinéma.
  19. It is extremely pleasurable to watch, and shows every sign of having been extremely pleasurable to make.
    • 87 Metascore
    • 100 Critic Score
    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.
  20. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic.
  21. This is a suspense classic that leaves teeth-marks.
  22. Fire at Sea is masterly film-making.
  23. Something in its mandarin blankness and balletic vastness, and refusal to trade in the emollient dramatic forms of human interest and human sympathy. Kubrick leaves usual considerations behind with his readiness to imagine a post-human future.
  24. By any standards, this would be an outstanding film, but for a debut it is remarkable.
  25. Hard to Be a God creates its own uncanny world: it is beautiful, brilliant and bizarre.
  26. I want more people to see The Tale because it’s such an innovative, honest and important film. It is a landmark, and Laura Dern is absolutely extraordinary. But I know for certain I’ll never watch it again.
  27. 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.

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