The Irish Times' Scores

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For 1,130 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 4.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Son of Saul
Lowest review score: 20 The Turning
Score distribution:
  1. Positive: 637 out of 1130
  2. Mixed: 467 out of 1130
  3. Negative: 26 out of 1130
1130 movie reviews
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    • 78 Metascore
    • 100 Critic Score
    The War Room
    It was riveting, not for any great insider insight, but because Carville turned out to be a much more interesting, more complex and more "authentic" character than Clinton himself. The cliches real, messy candidate and ersatz, cold-eyed handler - were reversed. Clinton made brief, bland appearances on the sidelines. Carville was the - heart of the drama: intense, passionate, emotional, funny. Carville laughed, cried, shouted. Clinton just smiled and waved. [10 Nov 1993, p.12]
    • The Irish Times
    • 53 Metascore
    • 50 Critic Score
    Point of No Return
    The remake succeeds in recapturing the suspense of key sequences such as the tense bathroom scene and the restaurant assassination, but most of the time it's a pedestrian piece of work unimaginatively directed by John Badham who lacks Luc Besson's skill for distracting us from disbelief. [2 July 1993, p.11]
    • The Irish Times
    • 67 Metascore
    • 30 Critic Score
    Man Bites Dog
    For all its cleverness it remains a dubious exercise...If none of this strikes you as very funny, even in the blackest of comedy, just wait for the rape scene later in the movie - not only is this not remotely funny, it is simply repulsive and indefensible whatever the context...Ultimately shallow and unconvincing and the result is a movie that is even more acutely disturbing than it was meant to be. [12 March 1993, p.11]
    • The Irish Times
    • 84 Metascore
    • 100 Critic Score
    Husbands and Wives
    This riveting film is a sad coda to one of cinema's most fruitful partnerships. [30 Oct 1992, p.12]
    • The Irish Times
    • 40 Metascore
    • 50 Critic Score
    The Power of One
    A film that turns the savagery of apartheid into a crisis of conscience for one relatively privileged white boy. Worse yet, it suggests that his crisis is a matter of urgent concern for countless South African blacks. [9 Oct 1992, p.11]
    • The Irish Times
    • 69 Metascore
    • 60 Critic Score
    The Company of Wolves
    Rich in imagination and ambition, and highly original as it explores the darker, sexual side of familiar fairytales, chiefly Little Red Riding Hood. [04 Nov 2005, p.9]
    • The Irish Times
  7. Once Upon a Time in America
    Once Upon a Time in America remains the most “problematic” of Leone’s major pictures. It is enveloping, operatic and slightly mad. We can forgive the confusion and the non- synchronised dialogue. But to this day the misogyny remains indigestible. [2014 re-release]
  8. Mirror (1975)
    Mirror is much copied, but as the recent run of Terrence Malick films demonstrates, eschewing time and plot for flotsam and psyche is much harder than Tarkovsky makes it look.
  9. El Topo
    Alejandro Jodorowsky’s movie has a strange, magical aura for cineastes.
  10. Husbands
    Husbands longueurs and wobbly shots of improvised tangents never congeal into anything as satisfying as Cassavetes s The Killing of a Chinese Bookie, Gloria or A Woman Under the Influence. But, in contrast with director s mean-spirited inheritors, the film does own that husbands even rubbish ones are people too. [28 Sep 2012, p.13]
    • The Irish Times
  11. Mandabi
    Mandabi’s playful grammar and arresting camerawork are as exciting and politically charged as anything that emerged from the contemporaneous Nouvelle Vague.
  12. An Autumn Afternoon
    Revisiting many of the master’s favourite themes – familial obligations, intergenerational frictions – Ozu’s 54th film delicately maintains its post-war critique.
    • 83 Metascore
    • 80 Critic Score
    Knife in the Water
    Effectively employing and expressive performances from his three actors, and subtle symbolism, Polanski fashions an engrossing drama in which the mounting sexual tension is palpable. He and his crew make remarkably resourceful use of the movie's severely confined locations, and the hand-held black-and-white camerawork is dextrous. [25 Jun 1993, p.11]
    • The Irish Times
  14. Imitation of Life
    By way of contrast, Imitation of Life and its predecessors really poked their noses into the ratty, fetid spaces behind the plush curtains.
  15. To Catch a Thief
    It’s all very superficial, but carried off with impeccable style.
  16. The Bishop's Wife
    In short, the third best Christmas film ever.
  17. The Miracle of Morgan's Creek
    Maybe, Morgan’s Creek does not have the ironic grit of Sullivan’s Travels or the suave perfection of The Lady Eve, but, as a showcase for Sturges the comic impresario, it can hardly be bettered.
  18. Man with a Movie Camera
    No other film – not even by Georges Méliès at his most fantastic – trumpets early cinema's status as a magical science and scientific magic, quite so loudly or melodically.
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