Time Out's Scores

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For 6,419 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,500 out of 6419
  2. Mixed: 3,444 out of 6419
  3. Negative: 475 out of 6419
6419 movie reviews
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  1. Lili
    Perhaps too deliberately charming for its own good, but this adaptation of a Paul Gallico novel about a 16-year-old waif who falls unhappily in love with a carnival magician (Aumont), thus adding to the bitterness of the crippled puppeteer (Ferrer) who loves her from afar, is actually rather delightful, thanks to Caron's touching performance and Walters' delicately stylish direction.
    • 84 Metascore
    • 60 Critic Score
    Stalag 17
    The problem is that the two moods aren't properly cross-fertilised, with the resolute bleakness of the settings and Wilder's direction positing a reality that is constantly undercut by the comic opera crew of Germans headed by Preminger. A fascinating film, nevertheless.
    • 68 Metascore
    • 60 Critic Score
    It Came from Outer Space
    The 3-D process leaves the image somewhat murky, but you can discern sparks of authentic pulp poetry throughout.
    • 68 Metascore
    • 60 Critic Score
    House of Wax
    Price is fun (this was the film that typed him as a horror star), the fire in the waxworks is good for a gruesome thrill, and De Toth brings off one classic sequence with Kirk fleeing through the gaslit streets pursued by a shadowy figure in a billowing cloak.
    • 85 Metascore
    • 60 Critic Score
    Shane
    The slow pace and persistent solemnity reduce tension, prefiguring the portentous nature of Stevens' later work. That said, the cast is splendid, and both the emotional tensions between Ladd and Arthur, and the final confrontation with Palance, are well handled.
    • 68 Metascore
    • 50 Critic Score
    I Confess
    Clift (as the priest) and Malden (as the cop) make this worth watching, but it's heavy going at times and the more literary aspects of the script, adapted from Paul Anthelme's play (written in 1902), are uncinematic to say the least.
    • 75 Metascore
    • 80 Critic Score
    Ivanhoe
    The dialogue and script are fatuously Americanised from Scott's original, but these chivalric Hollywood sagas still have a strange poetic quality about them, perhaps partly because of the way they unscrupulously and inaccurately ransacked literature and history for ideas and images.
    • 76 Metascore
    • 60 Critic Score
    Peter Pan
    If you can view it without thinking of Disney f***ing about with yet another children's classic and relax in the studio's last decent use of Technicolor, then you're in for a treat.
    • 70 Metascore
    • 60 Critic Score
    Niagara
    Worth seeing for Hathaway's superbly crafted direction, even if it needed a Hitchcock to merge the symbolism of the location (the falls, the belltower) with the themes of sexual domination and envy.
  10. The Bad and the Beautiful
    Vincente Minnelli’s 1952 movie about the movies wears its golden-era confidence as big and bold as Kirk Douglas’s shoulder pads, and it’s pretty close to film heaven.
    • 84 Metascore
    • 100 Critic Score
    Limelight
    Few cinema artists have delved into their own lives and emotions with such ruthlessness and with such moving results.
    • 62 Metascore
    • 50 Critic Score
    The Snows of Kilimanjaro
    Framed as a deathbed reminiscence, the film does tend to ramble, and seems particularly uneven in its mixture of back-projected wildlife footage, studio and location work, while Peck's weighty Harry Street remains resolutely aloof, to the point where he will not deign to expire.
    • 85 Metascore
    • 50 Critic Score
    The Quiet Man
    Ford's flamboyantly Oirish romantic comedy hides a few tough ironies deep in its mistily nostalgic recreation of an exile's dream.
    • 61 Metascore
    • 40 Critic Score
    Don't Bother to Knock
    The plot is so simple that psychological interest is needed to sustain it, and this would require stronger performances than those Widmark and Monroe give.
    • 79 Metascore
    • 60 Critic Score
    Pat and Mike
    This is a lazy, episodic, conventional but strangely charming variation on the old comedy formula of initially hostile misfits falling in love (here platonic).
  16. The Tales of Hoffmann
    It’s a more self-consciously artful film than its predecessor, an admirable spectacle rather than an entrancing human story. But as a work of pure, imaginative cinema, it comes close to genius.
    • 60 Metascore
    • 60 Critic Score
    Gone to Earth
    Forget Jones' rustic English (Kentucky? Australian?) and the melodramatic clichés (boots trampling posies): the haunting, dreamlike consistency recalls that other fairy story of innocence and menace, The Night of the Hunter.
    • 91 Metascore
    • 80 Critic Score
    The African Queen
    Credit should also go to the crew; to Jack Cardiff for his frond-filled imagery and maestro sound recordist John Mitchell for his atmospheric soundscape.
    • 98 Metascore
    • 80 Critic Score
    Rashomon
    This level of mastery is timeless, and although the movie is overly deliberate at times, when it takes off, it really flies.
    • 70 Metascore
    • 60 Critic Score
    Quo Vadis
    It does last virtually three hours, and along the way does have stretches of tedium, but LeRoy invests most of it with pace, true spectacle, and not a little imagination.
    • 78 Metascore
    • 80 Critic Score
    Miracle in Milan
    Made the year after 'Bicycle Thieves', this is a less coherent but more exuberant film, with De Sica injecting a stiff dose of fantasy into what could have been another plangent tale of gentleman tramps and shantytown life. [07 Sep 2005]
    • Time Out
    • 78 Metascore
    • 90 Critic Score
    On Dangerous Ground
    Aided enormously by George Diskant's high contrast camerawork and by Bernard Herrmann's stunning score, which emphasises the hunt motif in Ryan's quest, it's a film of frequent brilliance.
    • 47 Metascore
    • 60 Critic Score
    When Worlds Collide
    Based on a novel by Philip Wylie and Edwin Balmer once envisaged as a Cecil B DeMille project back in 1934, George Pal's production is better remembered for its apocalyptic special effects than for the perfunctory dialogue, but the gripping story keeps you watching.
    • 83 Metascore
    • 80 Critic Score
    An American in Paris
    Groundbreaking, breathtaking...Imperfect, then, but intermittently awe-inspiring.
    • 78 Metascore
    • 60 Critic Score
    Detective Story
    It has a certain compulsiveness, but as with Dead End (also based on a play by Sidney Kingsley), the main interest lies in the admirable set.
    • 81 Metascore
    • 80 Critic Score
    Pandora and the Flying Dutchman
    Lewin brings off the near-impossible task of positing a transcendent love in a sceptical age, succeeding through his own conviction, and indeed because Gardner, in the role of a lifetime, seems as much screen goddess as mere mortal – an apotheosis rendered by cameraman Jack Cardiff in Technicolor so heady it’s the stuff of legend.
  27. The Lavender Hill Mob
    Charles Crichton’s direction is subtle but inventive – check out the snaking, near-single-take opening in a Rio cabana – and the performances, writing and plotting are faultless.
    • 82 Metascore
    • 70 Critic Score
    La Ronde
    Not one of the director's very greatest films on desire (see Letter from an Unknown Woman and Lola Montès for those), Ophüls' circular chain of love and seduction in 19th century Vienna is still irresistible.
  29. The Day the Earth Stood Still
    Edmund H North's intelligent script and Wise's smooth direction are serious without being solemn, while Bernard Herrmann's effectively alien-sounding score reinforces the atmosphere of strangeness and potential menace.
    • 97 Metascore
    • 60 Critic Score
    A Streetcar Named Desire
    Kazan’s direction simmers when it needs to boil, placing all its chips on the battered decor and ethereal lighting, leaving you to wonder what fun Hitchcock or Preminger would have with the sexually pulsating, pressure-cooker backdrop gifted to them in the source material.
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