Time's Scores

Select another publication »
For 2,973 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Paterson
Lowest review score: 0 Life Itself
Score distribution:
  1. Positive: 1,806 out of 2973
  2. Mixed: 937 out of 2973
  3. Negative: 230 out of 2973
2973 movie reviews
view
per page
    • 86 Metascore
    • 100 Critic Score
    The Great Escape
    With accurate casting, a swift screenplay, and authentic German settings, Producer-Director John Sturges has created classic cinema of action. There is no sermonizing, no soul probing, no sex. The Great Escape is simply great escapism.
    • 60 Metascore
    • 30 Critic Score
    Cleopatra
    As drama and as cinema, Cleopatra is raddled with flaws. It lacks style both in image and in action. Never for an instant does it whirl along on wings of epic elan; generally it just bumps from scene to ponderous scene on the square wheels of exposition.
    • 62 Metascore
    • 80 Critic Score
    Hud
    The film is on the level, and the four principal actors—Newman, Neal, Douglas, and de Wilde—are so good that they might well form the nucleus of a cinematic repertory company. The point of the picture is as dry and nihilistic as a Panhandle dust storm.
    • 90 Metascore
    • 50 Critic Score
    The Birds
    Director Alfred Hitchcock goes nattering on with an hour of some silly plot-boiling about a flirtatious society girl (Tippi Hedren), a lovelorn schoolmarm (Suzanne Pleshette), an Oedipus wreck (Rod Taylor) and a pair of lovebirds. Hitchcock addicts will just be getting jittery for their first fix of gore when it suddenly becomes clear that the birds is coming: man's feathered friends set themselves to wipe out an entire village on the California coast. Why did the birds go to war? Hitchcock does not tell, and the movie flaps to a plotless end.
    • 88 Metascore
    • 100 Critic Score
    To Kill a Mockingbird
    One of the year's most fetching and affecting pictures.
  6. The Manchurian Candidate
    The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]
    • Time
    • 87 Metascore
    • 80 Critic Score
    Cléo from 5 to 7
    Cleo from 5 to 7, acclaimed in France as "the most beautiful film ever made about Paris," is a curiously, spuriously brilliant attempt to contemporize the legend of Death and the Maiden.
    • 84 Metascore
    • 100 Critic Score
    Through a Glass Darkly
    At every point, moreover, the actors are supported by Bergman's impressive cinematic skill. His script is a marvel of elision, speaking most eloquently in what it does not say. His photography is both poetic and worshipful. In every frame of the film the still light of subarctic summer silently instills an aspect of eternity, a sense of the presence of God.
    • 85 Metascore
    • 80 Critic Score
    Victim
    Victim has a neat plot, deft direction by Basil Dearden, and the sort of grum good manners one expects of the British in these trying situations. It also has a careful performance by Bogarde, and it pursues with eloquence and conviction the case against an antiquated statute.
    • 60 Metascore
    • 50 Critic Score
    Judgment at Nuremberg
    On the whole, Director Kramer has almost arrogantly exceeded his judicial warrant. He has also crudely mismanaged both actors and camera, and has carelessly permitted several reels of fat to accumulate around the movie's middle.
    • 86 Metascore
    • 50 Critic Score
    West Side Story
    Unhappily, the film shares a serious flaw in the essential conception of the show; both are founded on a phony literary analogy and on some potentially vicious pseudo-sociology... Nevertheless, by sheer theatrical intensity, the film transcends its specious materials.
    • 61 Metascore
    • 50 Critic Score
    Paris Blues
    Director Martin Ritt (The Long, Hot Summer) has obviously sought for artistic truth in this film, but the only general truth that Blues propounds is one that might have prevented this production: expatriates are a pretty dull bunch.
  13. The Hustler
    The fun in this moody, pounding, overlong, rewarding bring-down of a film is seeing Eddie’s curled lip of contempt, which he flashes at all the suckers, freeze into a rictus when he gets his.
  14. Yojimbo
    The filmmaking is marvelously austere, yet in its sudden bursts of action electrifying, in its stern morality sobering, in the blackness of its comedy often quite delicious.
    • 73 Metascore
    • 80 Critic Score
    The Parent Trap
    Surprisingly, the film is delightful—mostly because of 15-year-old Hayley Mills, the blonde button nose who played the endearing delinquent in Tiger Bay. The important thing about a children's picture is that children like it. If they are old enough to enjoy some mild mush and young enough to know childhood's most prized secret—that all adults are boobs—they should like this one.
    • 75 Metascore
    • 80 Critic Score
    The Absent Minded Professor
    Flubber provides fuel for a very funny piece of hyperbolic humor in the grand American tradition of Paul Bunyan, and Director Robert (Kidnapped) Stevenson and Scriptwriter Bill (The Shaggy Dog) Walsh get plenty of bounce out of every ounce.
    • 83 Metascore
    • 100 Critic Score
    101 Dalmatians
    It is the wittiest, most charming, least pretentious cartoon feature Walt Disney has ever made.
    • 61 Metascore
    • 60 Critic Score
    Swiss Family Robinson
    It's a great show for what the Disney organization has called "the under-twelve sector," and even though it runs long enough (2 hrs. 6 min.) to make the over-twelve sector squirm.
    • 74 Metascore
    • 100 Critic Score
    The Magnificent Seven
    An expert, sensitive study of the fateful tie that inevitably binds the strong to the weak, this film may well be the best western of 1960.
    • 87 Metascore
    • 90 Critic Score
    Spartacus
    Much as it owes to Kubrick, Spartacus owes even more to its script, which Scenarist Trumbo has adorned with humor, eloquence, sophistication and a corrosive irony. Above all, despite his personal predilection for the 20th century's most crushing political orthodoxy, Trumbo has imparted to Spartacus a passion for freedom and the men who live and die for it —a passion that transcends all politics and persons in the fearful, final image of the dying gladiator, the revolutionary on the cross.
    • 97 Metascore
    • 50 Critic Score
    Psycho
    What is offered instead is merely gruesome. The trail leads to a sagging, swamp-view motel and to one of the messiest, most nau seating murders ever filmed. At close range, the camera watches every twitch, gurgle, convulsion and hemorrhage in the process by which a living human becomes a corpse...The nightmare that follows is expertly gothic, but the nausea never disappears.
    • 94 Metascore
    • 100 Critic Score
    The Apartment
    Director Wilder handles his players superbly. He holds an amazingly tight rein on Actress MacLaine, which gives her performance a solidity she seldom achieves. Yet it is Actor Lemmon, surely the most sensitive and tasteful young comedian now at work in Hollywood, who really cuts the mustard and carries the show.
    • 90 Metascore
    • 80 Critic Score
    Ben-Hur
    What matters most and comes off best in the picture is the great scenes of spectacle, particularly the chariot race, a superbly handled crescendo of violence that ranks as one of the finest action sequences ever shot. All by itself it would be worth the price of admission.
    • 86 Metascore
    • 80 Critic Score
    Shadows
    Caught in the ecstasy of collective creation, a handful of earnest amateurs have almost accidentally produced a flawed but significant piece of folk art.
    • 98 Metascore
    • 90 Critic Score
    North by Northwest
    Smoothly troweled and thoroughly entertaining, North by Northwest wears its implausibilities lightly, bobs swiftly past colored picture postcard backgrounds from Madison Avenue to South Dakota's Mount Rushmore, the U.N. Secretariat to George Washington's wattles.
    • 95 Metascore
    • 80 Critic Score
    Anatomy of a Murder
    At 160 minutes, Anatomy is longer than the subject warrants, but the pace seldom slackens—thanks to the competence of Director Otto Preminger.
    • 98 Metascore
    • 70 Critic Score
    Some Like It Hot
    Lipsticked, mascaraed and tilting at a precarious angle ("How do they walk in these things?"), Actor Lemmon digs out most of the laughs in the script. As for Marilyn, she's been trimmer, slimmer and sexier in earlier pictures.
    • 45 Metascore
    • 40 Critic Score
    The Shaggy Dog
    Unhappily, Producer Walt Disney tells his shaggy-dog story so doggedly that he soon runs it into the pound.
    • 85 Metascore
    • 50 Critic Score
    Sleeping Beauty
    The drawing in Sleeping Beauty is crude: a compromise between sentimental, crayon-book childishness and the sort of cute, commercial cubism that tries to seem daring but is really just square. The hero and heroine are sugar sculpture, and the witch looks like a clumsy tracing from a Charles Addams cartoon. The plot often seems to owe less to the tradition of the fairy tale than to the formula of the monster movie.
    • 84 Metascore
    • 80 Critic Score
    Cat on a Hot Tin Roof
    In his four earlier films, Williams seemed to need a warmup of two backward steps before he could take one step forward, but at least the movement was visible and real. This time, Adapter-Director Richard Brooks has been able to put very little motion in his motion picture. His Cat is a formaldehyded tabby that sits static while layer after layer of its skin is peeled off, life after life of its nine lives unsentimentally destroyed. But in Williams, Brooks has a rare playwright who can make his static electric, and a blinkered grope toward the past as suspenseful as a headlong crash into the future.
Page:

Top Trailers

See all »
See all trailers »