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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    • 61 Metascore
    • 60 Critic Score
    The Big Country
    Finely crafted, though, with some marvellous camerawork (Franz Planer), an outstanding performance from Heston, and a vague message about violence predictably underscored by a marathon fist-fight between Peck and Heston. [31 Aug 2005]
    • Time Out
    • 69 Metascore
    • 50 Critic Score
    The Defiant Ones
    The suspense of the manhunt in the swamps never really overcomes the dead weight of Kramer's 'message', but pleasures are to be found in the supporting roles of McGraw and Chaney.
    • 58 Metascore
    • 70 Critic Score
    The Blob
    Despite producer Jack Harris' pooh-poohing of the 'political subtext' theory, rampant Commie-phobia pervades as the ever-redder blob sucks the life-blood out of every sacred American institution, climaxing in a truly marvellous scene in which the enemy within devours an entire diner, over easy, with a side salad and fries to go.
    • 84 Metascore
    • 90 Critic Score
    Cat on a Hot Tin Roof
    As so often with adaptations of Williams, it frequently errs on the side of overstatement and pretension, but still remains immensely enjoyable as a piece of cod-Freudian codswallop.
    • 82 Metascore
    • 50 Critic Score
    Gigi
    The combination of these two visual elitists is really too much - it's like a meal consisting of cheesecake, and one quickly longs for something solid and vulgar to weigh things down.
    • 68 Metascore
    • 60 Critic Score
    The Revenge of Frankenstein
    In one of his best performances, Cushing plays on the ambiguity of the central character, so that the Baron becomes a kind of Wildean martyr, alternating between noble defiance and detached cruelty.
  7. Vertigo
    It’s a movie about memory that actually improves the more you go over its folds.
  8. Thunder Road
    Cheaply made, disreputable, and blatantly anti-authority, it's a winner all the way, what with a stunningly laconic performance from Mitchum, white-hot night-time road scenes, and an affectionate but unsentimental vision of backwoods America rarely seen in cinema to this day.
    • 69 Metascore
    • 60 Critic Score
    The One That Got Away
    Worth noting that the film was regarded as piquant rather than as offensive; it's still worth watching, despite too many scenes of Krüger lurching across muddy fields and frozen rivers.
    • 76 Metascore
    • 60 Critic Score
    Witness for the Prosecution
    Tyrone Power is surprisingly good as the man accused of murdering his mistress, but the swift twists and turns of Ms Christie's plot soon drain Dietrich and Laughton's roles of any dramatic credibility.
  11. Touch of Evil
    A masterclass in tension, visual panache and B-movie excess.
  12. Cairo Station
    It's a strikingly controlled, confident, bitingly effective display, which leaves you wondering where this film has been all our lives.
  13. The Tarnished Angels
    Arguably Sirk's bleakest film - perhaps because it was shot in greyish monochrome rather than luridly stylised colour - and one of his finest, this adaptation of Faulkner's Pylon reassembles the three principles from Written on the Wind for a probing but sympathetic study in failure and despair.
  14. The Bridge on the River Kwai
    If there's a misstep here, it would be in the character of camp medic Maj. Clipton (James Donald). His overwrought dialogue---especially some Heston-like cries of "Madness!" during the finale---is too much of an on-the-nose contrast to the story's necessarily clinical existentialism. It slightly dilutes the film's piercing grandeur, but the nit is easily enough picked.
    • 63 Metascore
    • 60 Critic Score
    Peyton Place
    Tasteful adaptation of Grace Metalious' best-selling novel detailing the lives and loves of 'ordinary folk' in a small New England town. It comes with its full quota of sex, conspiracy and violence, but the story is told in such circumspect fashion that next to nobody was offended.
    • 68 Metascore
    • 50 Critic Score
    Jailhouse Rock
    The story, about a rock star with a prison background, was tougher than some of the other Presley pictures, but the musical numbers especially were shot in the MGM tradition, which was totally wrong for rock.
  17. The Three Faces of Eve
    Based on a true case history of a schizophrenic - here a woman with three personalities: a slatternly housewife, a seductive flirt, and a smart, articulate woman - this is worthy but somewhat turgid and facile, a typically Hollywoodian account of mental illness.
  18. 3:10 to Yuma
    As philosophically complex as it is starkly photographed, Delmer Daves's '50s frontier thriller questions heroism---mocks it and subverts it, really---before unveiling courage without celebration.
  19. Love in the Afternoon
    The script - Wilder's first with IAL Diamond - has its moments, but by and large it's conspicuously lacking in insight or originality, while Hepburn's fresh-faced infatuation for her all too visibly ageing guide to the adult, sensual world comes across as faintly implausible.
    • 65 Metascore
    • 90 Critic Score
    The Curse of Frankenstein
    The director's combination of the morbid and sinister is masterful, and at the same time he was able to create an atmosphere of great beauty.
    • 72 Metascore
    • 60 Critic Score
    A Face in the Crowd
    In the opening scenes of Kazan and writer Budd Schulberg's satire on the dangers of television and advertising, Griffith's virtuoso, likeably irreverent performance makes for genuinely amusing viewing; but once he's mixing with the bigwigs, the film-makers' political messages start flying thick and fast, and the drama soon becomes overheated and unconvincing.
    • 56 Metascore
    • 50 Critic Score
    Gunfight at the O.K. Corral
    Passion, certainly, is lacking, and being a 'town' Western, it's all very conventionally domestic.
  23. 12 Angry Men
    Too few films take on the art of arguing as a subject; we could certainly use more of them, but until then, Lumet’s window into strained civic duty will continue to serve mightily.
    • 73 Metascore
    • 100 Critic Score
    The Incredible Shrinking Man
    Not merely the best of Arnold's classic sci-fi movies of the '50s, but one of the finest films ever made in that genre.
    • 83 Metascore
    • 80 Critic Score
    The Wrong Man
    Hitchcock's most sombre film, unrelieved by his usual macabre humour; the black-and-white photography and the persecuted Fonda's sharply chiselled features lend an impressive documentary feel.
    • 83 Metascore
    • 70 Critic Score
    Baby Doll
    Its erotic content now seems tame indeed; but the grotesquely caricatured performances and the evocation of the baking, dusty, indolent homestead make for witty and compelling viewing.
    • 86 Metascore
    • 90 Critic Score
    Written on the Wind
    The acting is dynamite, the melodrama is compulsive, the photography, lighting, and design share a bold disregard for realism. It's not an old movie; it's a film for the future.
    • 84 Metascore
    • 50 Critic Score
    Giant
    The pace is so plodding, and the general effect so stultifyingly unsubtle, that one is left impressed only by the fine landscape photography and Dean's surprisingly convincing portrayal of a middle-aged man.
    • 69 Metascore
    • 50 Critic Score
    Around the World in 80 Days
    Mike Todd's inflation of Jules Verne, with Niven as Phileas Fogg and the Mexican comedian Cantinflas as Passepartout, becomes an interminable travelogue interspersed with sketches in which star-spotting affords some relief (there are cameos from hordes of luminaries ranging from Dietrich and Beatrice Lillie to Keaton and Sinatra).
    • 68 Metascore
    • 60 Critic Score
    Lust for Life
    Throughout Lust for Life, Van Gogh, brilliantly portrayed by Kirk Douglas as a man forever on a knife-edge, struggles to explain himself to his family and to Anthony Quinn's Gauguin. However, Minnelli, with the colours he chooses - which follow those of the paintings - and with his dramatic counterpointing of events in Van Gogh's life with his canvases, undermines all explanations.
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