Time's Scores

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For 2,984 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: 1,815 out of 2984
  2. Mixed: 939 out of 2984
  3. Negative: 230 out of 2984
2984 movie reviews
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    • 60 Metascore
    • 80 Critic Score
    Saludos Amigos
    A good-neighborly, Technicolor whimsey that has made Walt Disney one of South America's favorite North Americans.
    • 100 Metascore
    • 90 Critic Score
    Casablanca
    Nothing short of an invasion could add much to Casablanca.
    • 94 Metascore
    • 90 Critic Score
    Shadow of a Doubt
    A superb film.
    • 91 Metascore
    • 70 Critic Score
    Bambi
    Edward Plumb's background music is expertly keyed into the production, but none of Bambi's four songs is notable. Some innovations are. For the first time, Disney has done his backgrounds in oils instead of watercolors. The result is striking. The russet reds, browns, bright yellows, make autumn look like autumn. Each season has a special color impact.
    • 93 Metascore
    • 80 Critic Score
    The Magnificent Ambersons
    Ambersons is not another Citizen Kane, but it is good enough to remove Director Welles for keeps from the novice or one-picture-prodigy class.
    • 77 Metascore
    • 90 Critic Score
    Mrs. Miniver
    Mrs. Miniver is that almost impossible feat, a great war picture that photographs the inner meaning, instead of the outward realism of World War II.
    • 64 Metascore
    • 90 Critic Score
    Saboteur
    A melodramatic journey from coast to coast shows Hitchcock at his best. It gives movement, distance and a terrifying casualness to his painful suspense.
    • 86 Metascore
    • 90 Critic Score
    To Be or Not to Be
    To Be is a very funny comedy, salted to taste with melodrama and satire.
    • 74 Metascore
    • 50 Critic Score
    Suspicion
    Suspicion (RKO Radio) is good Alfred Hitchcock—up to the last few minutes. In those final minutes the picture falls apart at the seams.
    • 96 Metascore
    • 90 Critic Score
    Dumbo
    Although Dumbo offers no startling innovations in animated cartooning, it is probably Disney's best all-round picture to date. Though it lacks the bomb-burst novelty of Snow White, its craftsmanship is far beyond that memorable fairy tale's. Seldom has Disney articulated his characters so aptly. Dumbo is a most human little fellow, not bright, but willing.
    • 97 Metascore
    • 100 Critic Score
    The Maltese Falcon
    The Maltese Falcon is frighteningly good evidence that the British (Alfred Hitchcock, Carol Reed, et al.) have no monopoly on the technique of making mystery films. A remake of Dashiell Hammett's hard-boiled mystery, it is rich raw beef right off the U.S. range.
    • 100 Metascore
    • 100 Critic Score
    Citizen Kane
    It is a work of art created for grown people by grown people...Orson Welles treats the audience like a jury, calling up the witnesses, letting them offer the evidence, injecting no opinions of his own. He merely sees that their stories are told with absorbing clarity. Unforgettable are such scenes as the spanning of Kane's first marriage in a single conversation, the silly immensity of the castle halls which echo the flat whines of Susan.
    • 73 Metascore
    • 90 Critic Score
    Major Barbara
    Although this thesis produces a lot of talk in Major Barbara, it is the kind of talk that cinemaddicts seldom hear—brilliant, provocative, richly comic. It is solidly backed up by a baker’s dozen of superb acting performances.
    • 96 Metascore
    • 80 Critic Score
    The Lady Eve
    The picture returns the lately heavily dramatic Barbara Stanwyck to glamor, with 25 swank costume changes, and reveals homespun Henry Fonda, with a drawing room haircut and 14 sound tailoring jobs, as one of the screen's most socially eligible juveniles.
    • 56 Metascore
    • 70 Critic Score
    The Invisible Woman
    In a way, she gives voice to everything an audience might fantasize about saying to a belittling authority figure, whether it’s a boss, policeman or teacher.
    • 96 Metascore
    • 90 Critic Score
    The Philadelphia Story
    The result of all this high-priced maladjustment is terribly funny, terribly upper class. No one could have written it better than Plahywright Barry, who has written it often ("Holiday," "The Animal Kingdom," et al.)...It's a good, entertaining show.
    • 96 Metascore
    • 90 Critic Score
    Fantasia
    Though Disney's toddling cannot keep pace with the giant strides of Ludwig van Beethoven, Fantasia as a whole leaves its audience gasping. Critics may deplore Disney's lapses of taste, but he trips, Mickey-like, into an art form that immortals from Aeschylus to Richard Wagner have always dreamed of.
    • 86 Metascore
    • 90 Critic Score
    Rebecca
    This time Hitchcock does it all his way, does a splendid job and has a splendid cast to do it with.
    • 96 Metascore
    • 100 Critic Score
    The Grapes of Wrath
    The Grapes of Wrath is possibly the best picture ever made from a so-so book. It is certainly the best picture Darryl F. Zanuck has produced or Nunnally Johnson scripted. It would be the best John Ford had directed if he had not already made "The Informer."
    • 99 Metascore
    • 100 Critic Score
    Pinocchio
    The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself.
    • 94 Metascore
    • 70 Critic Score
    His Girl Friday
    Roughest spots in the original versions have been sandpapered or excised, the pressroom’s whiskey cynicism toned down to half of one per cent, but the comedy still has enough Hecht-MacArthur kick to make later interpolations smell synthetic.
    • 97 Metascore
    • 100 Critic Score
    Gone with the Wind
    Whatever it was not, Gone With the Wind was a first-rate piece of Americana, and Americans in the mass knew what they wanted before the critics had got through telling them they should not want it.
    • 73 Metascore
    • 90 Critic Score
    Mr. Smith Goes to Washington
    The acting of the brilliant cast is sometimes superb. But Mr. Smith Goes to Washington is bigger than any of these things. Its real hero is not calfy Jeff Smith, but the things he believes, as embodied in the hero of U. S. democracy's first crisis, Abraham Lincoln.
    • 92 Metascore
    • 70 Critic Score
    The Wizard of Oz
    As long as The Wizard of Oz sticks to whimsey and magic, it floats in the same rare atmosphere of enchantment that distinguished Walt Disney's Snow White and the Seven Dwarfs. When it descends to earth it collapses like a scarecrow in a cloudburst.
    • 98 Metascore
    • 100 Critic Score
    The Lady Vanishes
    The Lady Vanishes exhibits Director Alfred Hitchcock, England's portly master of melodrama, at the top of his form.
    • 77 Metascore
    • 60 Critic Score
    Young and Innocent
    A melodramatic hodge-podge that lacks the vivid outlines and clear characterizations of previous Hitchcock films, but is, nevertheless, a fair sample of Hitchcock devices.
    • 73 Metascore
    • 80 Critic Score
    True Confession
    True Confession is skillfully played and paced, keyed up to the pitch of the dizziest haywire skit.
    • 74 Metascore
    • 80 Critic Score
    The Green Pastures
    The Green Pastures is the nearest thing there is to modern U. S. folk drama.
    • 67 Metascore
    • 80 Critic Score
    Secret Agent
    Directed by England's pudgy master of melodrama, Alfred Hitchcock, Secret Agent is a first-rate sample of his knack of achieving speed by never hurrying, horror by concentrating on the prosaic.
    • 87 Metascore
    • 60 Critic Score
    Mutiny on the Bounty
    Despite the efforts of Producer Irving Thalberg, Director Frank Lloyd, three scenarists and $2,000,000 to give it balance, polish and direction, the picture lacks all three. There are intervals when the two hours which it lasts seem as interminable as Bligh's voyage in the open boat must have seemed to its occupants. The narrative, which skips the saga of Pitcairn's Island entirely for Tahiti love interest, still contains enough material for at least three films. These faults are indigenous to the historic material used. The picture has few others.
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