Time's Scores

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:
2984 movie reviews
    • 93 Metascore
    • 80 Critic Score
    The Thirty-Nine Steps neatly converts its essential implausibility into an asset by stressing the difficulties which confront its hero when he tries to tell outsiders about the predicament he is in.
  1. It is a perfect little masterpiece of high camp, not untouched by pity, terror and the desire to satirize boy-girl romances.
    • 77 Metascore
    • 90 Critic Score
    Alfred Hitchcock's direction, in which the story is told in sharp, abbreviated sequences gathering speed steadily toward their explosive climax, makes The Man Who Knew Too Much one of the neatest melodramas of the year.
    • 72 Metascore
    • 70 Critic Score
    Because of the authority with which it is acted and the skill with which Director John Stahl has built up individual episodes, the picture remains an efficient tearjerker, outspoken in its praise of motherlove.
    • 87 Metascore
    • 80 Critic Score
    The quick flow of comic incident through It Happened One Night reaches its fantastic conclusion...
    • 92 Metascore
    • 90 Critic Score
    Kong is an exaggeration ad absurdum, too vast to be plausible. This makes his actions wholly enjoyable.
    • 83 Metascore
    • 80 Critic Score
    The atmosphere which Director von Sternberg cleverly built up through the slow beginning of the picture and the brilliant photographic effects achieved by his camera man, Lee Garmes, have effect of giving this melodramatic cliché a reality which it could not possibly achieve in a medium less persuasive than the cinema.
    • 88 Metascore
    • 70 Critic Score
    Fredric March, ably assisted by Miriam Hopkins and Rose Hobart, is magnificent as Hyde, and he gives Jekyll a stilted Victorian elegance which, being a little false, makes Hyde's existence seem more credible.
    • 91 Metascore
    • 80 Critic Score
    Universal entrusted the direction of Frankenstein to James Whale. He did it in the Grand Guignol manner, with as many queer sounds, dark corners, false faces and cellar stairs as could possibly be inserted.
    • 80 Metascore
    • 70 Critic Score
    Unlike City Streets, this is not a Hugoesque fable of gangsters fighting among themselves, but a documentary drama of the bandit standing against society.
    • 66 Metascore
    • 100 Critic Score
    It is Mr. Jolson's first picture and as such of great import to the history of the current theatre. In no other way but pictures can his genius be preserved; and in this he is favored with the double preservative of picture and mechanical voice reproduction. The Vitaphone permits him to talk and sing his way through the sentimental mazes of the movie adaptation. He is a good actor; but he is a very great singer of popular songs. In cities where the Vitaphone can be installed and reproduce his voice this picture will eminently repay attendance.
  2. Mother! is ambitious and dorky, like a Hieronymus Bosch painting redone as swirl-art. It’s entertaining to watch, because it’s not easy to see where it’s going — though you might feel a little underwhelmed when you discover where it ends up. The main reason to keep watching is Lawrence, receptive and radiant.

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