Variety's Scores

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For 17,760 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 IMAX: Hubble 3D
Lowest review score: 0 Divorce: The Musical
Score distribution:
  1. Positive: 9,121 out of 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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    • 84 Metascore
    • 80 Critic Score
    Love Story
    It is generally successful on all artistic levels, propelled by the best-selling Erich Segal novel written from the original screenplay.
    • 85 Metascore
    • 80 Critic Score
    Gimme Shelter
    Captures that petulant omnisexuality that made many adults consider Jagger a threat to their daughters, sons and household pets alike.
    • 58 Metascore
    • 80 Critic Score
    Scrooge
    Albert Finney's remarkable performance in the title role; executive producer Leslie Bricusse's fluid adaptation of the Charles Dickens classic, A Christmas Carol, plus his unobtrusive complementary music and lyrics; and Ronald Neame's delicately controlled direction which conveys, but does not force, all the inherent warmth, humor and sentimentality.
    • 75 Metascore
    • 60 Critic Score
    The Private Life of Sherlock Holmes
    Billy Wilder's enterprise is a strange one because of its shift in directions from quite good satire to straight spy stuff. It is in large part old-fashioned, in that it's mile-wide and ancient-history Sherlock Holmes, but it's also handsomely produced and directed with incisiveness by Wilder.
    • 53 Metascore
    • 70 Critic Score
    The Great White Hope
    A superior cast, headed by James Earl Jones encoring in his stage role, a colorful and earthy script, plus outstanding production, render film quite palatable.
    • 46 Metascore
    • 40 Critic Score
    Tora! Tora! Tora!
    Both overall director Richard Fleischer and his Japanese counterparts do a dull job, and the monotonously low-key tone of scene after scene almost suggests that each was filmed without a sense of ultimate slotting in the finished form.
    • 85 Metascore
    • 80 Critic Score
    Five Easy Pieces
    The film’s nervewracking quality is consistent with its content. Nicholson’s performance is a remarkably varied and daring exploration of a complex character, equally convincing in its manic and sober aspects.
    • 94 Metascore
    • 90 Critic Score
    The Wild Child
    It progresses slowly but absorbingly. Truffaut underplays but exudes an interior tenderness and dedication. The boy is amazingly and intuitively well played by a tousled gypsy tyke named Jean-Pierre Cargol. Everybody connected with this unusual, off-beat film made in black-and-white rates kudos.
    • 67 Metascore
    • 50 Critic Score
    Take the Money and Run
    A few good laughs in an 85-minute film do not a comedy make. Basically a running gag about hero Allen's ineptitude as a professional crook, scatters its fire in so many directions it has to hit at least several targets. But satire on documentary coverage of criminal flop is overextended and eventually tiresome.
    • Variety
    • 70 Metascore
    • 60 Critic Score
    Catch-22
    Low, cheap comedy mingles nervously with slick, high-fashion technical polish in a slow-boiling stew of specious philosophy and superficial characterization.
    • 50 Metascore
    • 60 Critic Score
    Kelly's Heroes
    Nearly satirical in its overall effect, plot caroms between cliche dogface antics, detailed and gratuitous violence, caper melodramatics, and outrageous anachronism.
    • 60 Metascore
    • 30 Critic Score
    Beyond the Valley of the Dolls
    This trashy, gaudy, sound-stage vulgarity about low life among the high life is as funny as a burning orphanage.
    • 62 Metascore
    • 50 Critic Score
    Two Mules for Sister Sara
    Two Mules for Sister Sara might have worked. But with Clint Eastwood as one of the mules, an American mercenary looking for a fast peso in old French-occupied Mexico, Shirley MacLaine as a scarlet sister disguised in a nun's habit, and Don Siegel's by-the-old-book direction, it doesn't.
    • 72 Metascore
    • 90 Critic Score
    The Out of Towners
    The Out of Towners is a total delight.
    • 46 Metascore
    • 40 Critic Score
    Beneath the Planet of the Apes
    This sequel to the 1968 smash, Planet of the Apes, is hokey and slapdash. The story [by Paul Dehn and Mort Abrahams] and Ted Post’s direction fall far short of the original.
    • 75 Metascore
    • 70 Critic Score
    The Landlord
    Beau Bridges heads the uniformly excellent cast as a bored rich youth who buys a black ghetto apartment building and learns something about life.
    • 58 Metascore
    • 90 Critic Score
    Getting Straight
    Getting Straight is an outstanding film. It is a comprehensive, cynical, sympathetic, flip, touching and hilarious story of the middle generation [of the late 1960s] – those millions a bit too old for protest, a bit too young for repression.
    • 72 Metascore
    • 60 Critic Score
    Let It Be
    As a 16mm cinema verite of four rock musicians in a studio jamming a bit, trying to get their music together, clowning and rapping a little, and finally doing a brief concert, Let It Be is a relatively innocuous, unimaginative piece of film.
    • 46 Metascore
    • 40 Critic Score
    A Man Called Horse
    A Man Called Horse is said to be an authentic depiction of American Indian life in the Dakota territory of about 1820. Authentic it may be, but an absorbing film drama it is not.
    • 69 Metascore
    • 70 Critic Score
    Bloody Mama
    The best performance in the film, and one of the most outstanding screen portrayals in many moons, is that of Pat Hingle, playing a wealthy businessman kidnapped for high ransom.
    • 65 Metascore
    • 60 Critic Score
    The Boys in the Band
    Boys in the Band drags. But despite its often tedious postulations of homosexual case histories instead of realistic dialog, and the stagey posturing of the actors, the too literately faithful adaptation of Mart Crowley's off-Broadway swish-set piece has bitchy, back-biting humor, fascinating character studies, melodrama and, most of all, perverse interest.
    • 42 Metascore
    • 50 Critic Score
    Airport
    Airport is a handsome, often dramatically involving $10-million epitaph to a bygone brand of filmmaking. However, the ultimate dramatic situation of a passenger loaded jetliner with a psychopathic bomber aboard that has to be brought into a blizzard-swept airport with runway blocked by a snow-stalled plane actually does not create suspense because the audience knows how it's going to end.
    • Variety
    • 86 Metascore
    • 100 Critic Score
    Patton
    War is hell, and Patton is one hell of a war picture, perhaps one of the most remarkable of its type ever made.
    • 42 Metascore
    • 50 Critic Score
    The Magic Christian
    A spotty, uneven satire (from the novel by Terry Southern) with a number of good yocks, but insufficient sustained wit or related action.
    • 74 Metascore
    • 70 Critic Score
    Frankenstein Must Be Destroyed
    The film is a good-enough example of its low-key type, with artwork rather better than usual (less obvious backcloths, etc.), a minimum of artless dialog, good lensing by Arthur Grant and a solid all round cast.
    • 82 Metascore
    • 80 Critic Score
    The Honeymoon Killers
    Made on a very low budget by a writer-director Leonard Kastle, The Honeymoon Killers, based on the Lonely Hearts murder case of the late 1940s, is made with care, authenticity and attention to detail.
    • 62 Metascore
    • 70 Critic Score
    The Molly Maguires
    The Molly Maguires, based on a Pennsylvania coal miners' rebellion of the late 19th century, is occasionally brilliant. Sean Connery, Richard Harris and Samantha Eggar head a competent cast.
  28. MASH
    In the end M.A.S.H. succeeds, in spite of its glaring faults, because Gould, Sutherland, Skerritt, Jo Ann Pflug as the delicious Lt. Dish, and Roger Bowen, as the goof-off commanding officer who is bright enough to recognize his junior officers' medical competence and stay out of their way, are all believable and bitingly funny in their casual disdain for the Army.
    • 66 Metascore
    • 70 Critic Score
    The Reivers
    The Reivers is a nice bawdy film, sort of Walt Disney with an adult rating.
    • 54 Metascore
    • 60 Critic Score
    The Computer Wore Tennis Shoes
    Good looking production is above average family entertainment, enhanced to great measure by zesty, but never show-off, direction by Robert Butler, in a debut swing to pix from telefilm.
  31. On Her Majesty's Secret Service
    Is it an awful movie? Objectively speaking, no (although it does feature one of the worst endings ever inflicted on an audience). But as a Bond movie, it’s an abomination.
    • 61 Metascore
    • 70 Critic Score
    Topaz
    Topaz tends to move more solidly and less infectiously than many of Alfred Hitchcock's best remembered pix. Yet Hitchcock brings in a full quota of twists and tingling moments.
    • 67 Metascore
    • 50 Critic Score
    Cactus Flower
    Cactus Flower drags, which is probably the worst thing that can be said of a light comedy. It's due to sloppy direction by Gene Saks and the miscasting of Walter Matthau opposite Ingrid Bergman.
    • 51 Metascore
    • 70 Critic Score
    Hello, Dolly!
    An expensive, expansive, sometimes exaggerated, sentimental, nostalgic, wholesome, pictorially opulent $20 million filmusical [from the 1964 Broadway production, music and lyrics by Jerry Herman] with the charisma of Barbra Streisand in the title role.
    • 62 Metascore
    • 80 Critic Score
    Marooned
    The film is superbly crafted, taut and a technological cliff-hanger.
    • 72 Metascore
    • 70 Critic Score
    They Shoot Horses, Don't They?
    A film with Jane Fonda as a hard-as-nails babe. It becomes, in a recreated old ballroom, a sordid spectacle of hard times, a kind of existentialist allegory of life.
    • 86 Metascore
    • 70 Critic Score
    Z
    Z is a punchy political pic [from the novel by Vassilis Vassilikos] that mixes action, violence, and conspiracy on a robust, lavish scale.
    • 48 Metascore
    • 50 Critic Score
    The Undefeated
    Film has a basic storyline, character elements and dialog for what might have been a superior drama and possibly a great western. But Andrew McLaglen's direction, seems to consist of splicing together cliches, static camera work and Central Casting of the bit parts.
    • 89 Metascore
    • 90 Critic Score
    Downhill Racer
    Redford contributes a sensitive, interesting portrayal. His interpretation is many-faceted and probing. Hackman’s characterization is virile and thoroughly human.
    • 61 Metascore
    • 50 Critic Score
    Goodbye, Mr. Chips
    M-G-M's reproduction of Goodbye, Mr. Chips as a big-budget musical [music and lyrics by Leslie Bricusse] with Peter O'Toole and Petula Clark is a sumptuous near-miss that trips on its own overproduction.
    • 66 Metascore
    • 80 Critic Score
    Butch Cassidy and the Sundance Kid
    Action dwells upon the misadventures of the pair as they pursue the outlaw trail, but more importantly, packs the type of fast movement the title indicates.
    • 68 Metascore
    • 70 Critic Score
    The Sterile Cuckoo
    It is Minnelli’s one-woman show. The 21-year-old Burton is not so much her costar as her straight man.
    • 50 Metascore
    • 60 Critic Score
    Paint Your Wagon
    What the $17 million-plus film (from the 1951 Lerner-Loewe Broadway musical) lacks in a skimpy story line it makes up in the music and expert choreography. There are no obvious ‘musical numbers’. All the songs, save one or two, work neatly, quietly and well into the script. The actors used their own voices, which are pleasant enough and add to the note of authenticity.
    • 72 Metascore
    • 100 Critic Score
    Bob & Carol & Ted & Alice
    The acting is superb. Cannon proves an expert comedienne. She and Gould practically steal the film, although admittedly they have the best lines. Wood and Culp give equally fine performances....The film is almost flawless, presenting the issues in a pleasing, entertaining and thought-provoking manner.
    • 70 Metascore
    • 70 Critic Score
    The Italian Job
    The cast does its stuff to good effect. Coward, as the highly patriotic, business-like master crook, brings all his imperturbable sense of irony and comedy to his role.
    • 87 Metascore
    • 60 Critic Score
    Medium Cool
    Photographed in Chicago against the clamor and violence of the 1968 Democratic National Convention, where cast principals were on their own as they made their way through the crowds and police lines. Buildup to these later sequences frequently is confusing and motives difficult to fathom.
    • 66 Metascore
    • 50 Critic Score
    The Rain People
    Writer-director Francis Coppola, scrutinizing the flight of a neurotic young woman and her efforts to assist a brain-damaged ex-football player, has developed an overlong, brooding film incorporating some excellent photography. Often lingering too long on detail to build effects, he manages to lose character sympathy.
    • 85 Metascore
    • 90 Critic Score
    Easy Rider
    Fonda himself has given this a fine production dress, with associate Bert Schneider, and the brilliant lensing, excellent music background ballads, especially Bob Dylan's "Easy Rider," are fine counterpoints to this poetic trip along Southwest America.
    • 98 Metascore
    • 50 Critic Score
    The Wild Bunch
    Film at 145 minutes is far over-length, and should be tightened extensively, particularly in first half. After a bang-up and exciting opening, it appears that scripters lost sight of their narrative to drag in Mexican songs, dancing and way of life, plus an overage of dialog, to the detriment of action.
    • 34 Metascore
    • 40 Critic Score
    Eye of the Cat
    Pic has a few good jolts, successful buildups, and good looking people, but stilted dialog and plot shot through with holes keep mystery at a minimum, suspense overdue. Despite San Francisco as backdrop, with North Beach and Sausalito tossed in for spice, film trips over its own cliches and errors.
    • 83 Metascore
    • 70 Critic Score
    True Grit
    It’s mostly Wayne all the way. He towers over everything in the film – actors, script [from Charles Portis’ novel], even the magnificent Colorado mountains.
    • 47 Metascore
    • 60 Critic Score
    The April Fools
    In addition to Lemmon, comedians Jack Weston (as his lawyer) and Harvey Korman (as a drinking companion they encounter in the commuter train’s drinking car) provide their own brand of laughs and the contrasting styles of the three actors gives the plot most of its action.
    • 79 Metascore
    • 70 Critic Score
    Midnight Cowboy
    The sometimes amusing but essentially sordid saga of a male prostitute in Manhattan,...Midnight Cowboy is of the modern moment moderne. It has a hot topical theme; a popular actor from last year’s greatest film comedy; a miscellany of competent bit players, a good deal of both sly and broad humor. If the women object, and some will, that it accords their sex scant courtesy, the story hardly presents males as admirable. Indeed in this film the scenery is lovely and only the human race is vile.
    • 70 Metascore
    • 60 Critic Score
    Winning
    Overly-long, it nevertheless carries sock appeal in suspenseful racing sequences and its principals in a realistically-developed marital romance score strongly.
    • 37 Metascore
    • 70 Critic Score
    Mackenna's Gold
    The plot [from Will Henry's novel McKenna's Gold] is good, the acting adequate. But it's the scenery, the vastness of the west, the use of cameras, and of horses, and the special effects which keep the viewer involved and entertained.
    • 69 Metascore
    • 60 Critic Score
    Death of a Gunfighter
    Widmark elicits certain sympathy for his actions in his hardboiled interpretation.
    • 56 Metascore
    • 60 Critic Score
    Support Your Local Sheriff!
    Support Your Local Sheriff uses as the basis for its comedy the many cliches that have become part and parcel of the Western genre.
    • 61 Metascore
    • 70 Critic Score
    The Assassination Bureau
    Fused with the capable talents of Michael Relph and Basil Dearden picture emerges as a somewhat unusual and clever comedy after an over-leisurely opening.
    • 48 Metascore
    • 80 Critic Score
    The Love Bug
    For sheer inventiveness of situation and the charm that such an idea projects, The Love Bug rates as one of the better entries of the Disney organization.
    • 63 Metascore
    • 80 Critic Score
    Where Eagles Dare
    Highly entertaining, thrilling and rarely lets down for a moment.
    • 53 Metascore
    • 80 Critic Score
    Sweet Charity
    Sweet Charity is, in short, a terrific musical film. Based on the 1966 legituner [by Neil Simon, Cy Coleman and Dorothy Fields, based on Federico Fellini's film, Nights of Cabiria], extremely handsome and plush production accomplishes everything it sets out to do.
    • 67 Metascore
    • 60 Critic Score
    The Night They Raided Minsky's
    Norman Lear's period peek at a peculiarly American form of entertainment - burlesque - is most successful in its art direction and nostalgic recapturing of New York's lower East Side during its most hoydenish period.
    • 90 Metascore
    • 90 Critic Score
    Red Beard
    It's hokum lifted to the highest denominator, the banal made into near art by great skill and craftsmanship by the Japanese master.
    • 64 Metascore
    • 50 Critic Score
    Chitty Chitty Bang Bang
    Howes goes through the romantic motions with Van Dyke and the maternal ones with the kids, but there is no real sentiment between players.
    • 74 Metascore
    • 80 Critic Score
    Oliver!
    It’s a bright, shiny, heartwarming musical, packed with songs and lively production highspots and, though the leading performances are not all up to the Lean mark, if memory serves it’s a fine enough thesping ensemble to keep exhibitors and audience enthusiastic.
    • 88 Metascore
    • 50 Critic Score
    Faces
    Faces is a long, long (at least an hour too long) look at a 36-hour splitup in the 14-year marriage of a middle-class couple. At least John Cassavetes, who also wrote the screenplay, describes them as middle-class.
    • 79 Metascore
    • 70 Critic Score
    Yellow Submarine
    This is a full length animated cartoon in which the prime factor is the appearance of the Beatles in caricature form. Here are all the ingredients of a novel entertainment.
    • 49 Metascore
    • 70 Critic Score
    Ice Station Zebra
    Action develops slowly, alternating with some excellent submarine interior footage, and good shots – of diving, surfacing and maneuvering under an ice field.
    • 74 Metascore
    • 70 Critic Score
    Vixen!
    Russ Meyer’s film is another of his technically polished sexplicit dramas, this time free of physical violence and brutality, and hyped with some awkwardly developed draft-dodging and patriotism angles.
    • 81 Metascore
    • 100 Critic Score
    Bullitt
    Conflict between police sleuthing and political expediency is the essence of Bullitt, an extremely well-made crime melodrama [from Robert L. Pike's novel Mute Witness] filmed in Frisco. Steve McQueen delivers a very strong performance as a detective seeking a man whom Robert Vaughn, ambitious politico, would exploit for selfish motives. Good scripting and excellent direction by Peter Yates maintain deliberately low-key but mounting suspense.
    • 66 Metascore
    • 80 Critic Score
    The Boston Strangler
    The Boston Strangler, based on Gerold Frank's book, emerges as a triumph of taste and restraint with a telling, low-key semi-documentary style. Adaptation is topnotch not only in structure but also in the incisive, spare dialog which defines neatly over 100 speaking parts.
    • 51 Metascore
    • 30 Critic Score
    Barbarella
    Despite a certain amount of production dash and polish and a few silly-funny lines of dialog, Barbarella isn’t very much of a film. Based on what has been called an adult comic strip, the Dino De Laurentiis production is flawed with a cast that is not particularly adept at comedy, a flat script, and direction which can’t get this beached whale afloat.
    • 59 Metascore
    • 80 Critic Score
    Finian's Rainbow
    Overall, the $4 million film has an ethereal quality: it’s a blend of real elements, such as love, greed, compassion, prejudice, and other aspects of human nature both noble and otherwise; yet it’s also infused with mystical elements of magic, leprechauns, pixies and wishes that come true.
    • 69 Metascore
    • 50 Critic Score
    Romeo and Juliet
    Rarely will audiences be moved to throat-gulping by the plight of the young couple. For all Hussey’s prettiness and Whiting’s shy charm it is clear that they do not understand one tenth of the meaning of their lines and it is a drawback from which the film cannot recover.
    • 51 Metascore
    • 60 Critic Score
    Shalako
    The film is a slow starter while the various characters are being established and has an over-abrupt and inconclusive ending. Intriguing are the relationships between members of the hunting party.
    • 89 Metascore
    • 70 Critic Score
    Night of the Living Dead
    Although pic’s basic premise is repellent – recently dead bodies are resurrected and begin killing human beings in order to eat their flesh – it is in execution that the film distastefully excels.
    • 50 Metascore
    • 50 Critic Score
    Charly
    Considering the innumerable stumbling blocks, cast does well. Cliff Robertson seems to overdo the external manifestations of retardation, but he is excellent in the post-operative scenes. With more help from the script he could have been a movingly tragic figure.
    • 88 Metascore
    • 80 Critic Score
    Funny Girl
    Barbra Streisand in her Hollywood debut makes a marked impact.
    • 63 Metascore
    • 40 Critic Score
    Who's That Knocking at My Door?
    Zina Bethune, as the girl, is believable but Harvey Keitel, as the anti-hero, is alternatively boorish or bewildered. Scorsese occasionally brings the film to life.... Generally, however, his script and direction lack any dramatic value and give far too much exposure to sexual fantasies on the part of the boy.
    • 74 Metascore
    • 50 Critic Score
    Rachel, Rachel
    Rachel, Rachel is a low-key melodrama starring Joanne Woodward as a spinster awakening to life. Produced austerely by Paul Newman, who also directs with an uncertain hand, it marks Newman's feature debut in these non-acting capacities. Offbeat film moves too slowly to an upbeat, ironic climax.
    • 62 Metascore
    • 50 Critic Score
    Hang 'Em High
    Hang 'em High comes across as a poor-made imitation of a poor Italian-made imitation of an American western.
    • 35 Metascore
    • 70 Critic Score
    Inspector Clouseau
    Film is a lively, entertaining and episodic story of bank robbers. Good scripting, better acting and topnotch direction get the most out of the material.
    • 66 Metascore
    • 90 Critic Score
    The Thomas Crown Affair
    the Norman Jewison film tells a crackerjack story, well-tooled, professionally crafted and fashioned with obvious meticulous care. McQueen is neatly cast as the likeable, but lonely heavy. Dunaway makes an excellent detective who gradually develops a conflict of interests regarding her prey. The only message in this film is: enjoy it.
    • 96 Metascore
    • 100 Critic Score
    Rosemary's Baby
    Several exhilarating milestones are achieved in Rosemary's Baby, an excellent film version of Ira Levin's diabolical chiller novel. Writer-director Roman Polanski has triumphed in his first US-made pic. The film holds attention without explicit violence or gore.
    • 86 Metascore
    • 90 Critic Score
    The Odd Couple
    The Odd Couple, Neil Simon's smash legit comedy, has been turned into an excellent film starring Jack Lemmon and Walter Matthau. Simon's somewhat expanded screenplay retains the broad, as well as the poignant, laughs inherent in the rooming together of two men whose marriages are on the rocks.
    • 79 Metascore
    • 100 Critic Score
    Planet of the Apes
    Planet of the Apes is an amazing film. A political-sociological allegory, cast in the mold of futuristic science-fiction, it is an intriguing blend of chilling satire, a sometimes ludicrous juxtaposition of human and ape mores, optimism and pessimism.
    • 84 Metascore
    • 40 Critic Score
    2001: A Space Odyssey
    A major achievement in cinematography and special effects, 2001 lacks dramatic appeal and only conveys suspense after the halfway mark; Kubrick must receive all the praise - and take all the blame.
    • 71 Metascore
    • 70 Critic Score
    Blackbeard's Ghost
    Blackbeard's Ghost, a lively and entertaining Walt Disney production, features Peter Ustinov in a tour de farce title role as the restless spirit of the famed pirate. Dean Jones and Suzanne Pleshette share top billing. Robert Stevenson's direction is highlighted by several very amusing chase and special effects sequences.
    • 90 Metascore
    • 60 Critic Score
    The Good, the Bad and the Ugly
    A curious amalgam of the visually striking, the dramatically feeble and the offensively sadistic.
  90. The Graduate
    The Graduate is a delightful, satirical comedy-drama about a young man's seduction by an older woman, and the measure of maturity which he attains from the experience.
    • 34 Metascore
    • 70 Critic Score
    Doctor Dolittle
    Leslie Bricusse’s adaptation retains the delightful aspects while taking considerable liberty with the plot. His music and lyrics, while containing no smash hits, are admirably suited to the scenario.
    • 49 Metascore
    • 40 Critic Score
    Valley of the Dolls
    Parkins and Tate, the latter particularly good, suffer from under-emphasis in early reels, and corny plot resolution.
    • 77 Metascore
    • 70 Critic Score
    Bedazzled
    Bedazzled is smartly-styled and typical of certain types of high British comedy.
    • 90 Metascore
    • 90 Critic Score
    Samurai Rebellion
    This Toho-Mifune production represents all the best in the Japanese period film.
    • 56 Metascore
    • 60 Critic Score
    The Fearless Vampire Killers
    Ferdy Mayne is the menacing Dracula, and Sharon Tate, lady in question, looks particularly nice in her bath. Alfie Bass, the innkeeper; Iain Quarrier as the count’s effeminate son, who has some fangs all his own; Terry Downes, the toothy hunchback castle handyman (who might be Quasimodo returned), and Jessie Robbins, innkeeper’s spouse, lend proper support.
    • 92 Metascore
    • 90 Critic Score
    Cool Hand Luke
    Newman gives an excellent performance, assisted by a terrific supporting cast, including George Kennedy, outstanding as the unofficial leader of the cons who yields first place to Newman.
    • 68 Metascore
    • 50 Critic Score
    Hour of the Gun
    Unfortunately, for any filmmaker, probing too deeply into the character of folk heroes reveals them to be fallible human beings – which they are, of course – but to mass audiences, who create fantasies, such exposition is unsettling. Reality often makes for poor drama.
    • 81 Metascore
    • 90 Critic Score
    Wait Until Dark
    Wait Until Dark emerges as an excellent suspense drama, effective in casting, scripting, direction and genuine emotional impact.
    • Variety
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