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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    • 59 Metascore
    • 70 Critic Score
    It's a Mad, Mad, Mad, Mad World
    Being a picture of extravagant proportions, even its few flaws are king-sized, but the plusses outweigh by far the minuses. It is a throwback to the wild, wacky and wondrous time of the silent screen comedy, a kind of Keystone Kop Kaper with modern conveniences.
    • 77 Metascore
    • 70 Critic Score
    Tom Jones
    It has sex, Eastmancolor, some prime performers and plenty of action. Tony Richardson has directed John Osborne’s screenplay with verve, though, occasionally, he falls back on camera tricks and editing which are disconcerting.
    • 61 Metascore
    • 80 Critic Score
    Lilies of the Field
    Made on a modest budget and filmed entirely on location in Arizona, Lilies reveals Sidney Poitier as an actor with a sharp sense of humor.
    • 51 Metascore
    • 70 Critic Score
    The V.I.P.s
    This has suspense, conflict, romance, comedy and drama. Its main fault is that some of the characters and the by-plots are not developed enough. But that is a risk inevitable in any film in which a number of strangers are flung together, each with problems and linked by a single circumstance.
    • 74 Metascore
    • 50 Critic Score
    The Haunting
    The artful cinematic strokes of director Robert Wise and staff are not quite enough to override the major shortcomings of Nelson Gidding’s screenplay from the Shirley Jackson novel (The Haunting of Hill House).
    • 67 Metascore
    • 50 Critic Score
    Lord of the Flies
    The theme of young boys reverting to savagery when marooned on a deserted island has its moments of truth, but this pic rates as a near-miss on many counts.
    • 58 Metascore
    • 80 Critic Score
    The Thrill of It All
    Ultimately it is in the design and engineering of cumulative sight gag situations that Thrill of It All excels.
    • 86 Metascore
    • 90 Critic Score
    The Great Escape
    Producer-director John Sturges has fashioned a motion picture that entertains, captivates, thrills and stirs.
    • 93 Metascore
    • 90 Critic Score
    8½
    With 8 1/2 Federico Fellini tops even his trendsetting La Dolce Vita in artistry. Here is the author-director picture par excellence, an exciting, stimulating, monumental creation.
    • 69 Metascore
    • 70 Critic Score
    Jason and the Argonauts
    The $3 million film has a workable scenario and has been directed resourcefully and spiritedly by Don Chaffey, under whose leadership a colorful cast performs with zeal.
    • 60 Metascore
    • 80 Critic Score
    Cleopatra
    Cleopatra is not only a supercolossal eye-filler (the unprecedented budget shows in the physical opulence throughout), but it is also a remarkably literate cinematic recreation of an historic epoch.
    • 64 Metascore
    • 50 Critic Score
    Donovan's Reef
    Donovan's Reef, for a director of John Ford's stature, is a potboiler. Where Ford aficianados will squirm is during that occasional scene that reminds them this effort-less effort is the handiwork of the men who made Stagecoach and The Informer.
    • 63 Metascore
    • 50 Critic Score
    Irma la Douce
    Two hours and 23 minutes is an awfully long haul for a frivolous farce.
    • 62 Metascore
    • 60 Critic Score
    Hud
    Hud is a near miss. Where it falls short of the mark is in its failure to filter its meaning and theme lucidly through its characters and story.
    • 78 Metascore
    • 80 Critic Score
    Dr. No
    First screen adventure of Ian Fleming's hardhitting, fearless, imperturbable, girl-loving Secret Service Agent 007, James Bond, is an entertaining piece of tongue-in-cheek action hokum. Sean Connery excellently puts over a cool, fearless, on-the-ball, fictional Secret Service guy. Terence Young directs with a pace which only occasionally lags.
    • 83 Metascore
    • 80 Critic Score
    Sanjuro
    The charm of this fascinating Toho production, stylishly directed by Akira Kurosawa, is the personality of the hero, powerfully played by Toshiro Mifune.
    • 90 Metascore
    • 60 Critic Score
    The Birds
    The premise is fascinating. The idea of billions of bird-brains refusing to eat crow any longer and adopting the hunt-and-peck system, with homo sapiens as their ornithological target, is fraught with potential. Cinematically, Hitchcock & Co have done a masterful job of meeting this formidable challenge. But dramatically, The Birds is little more than a shocker-for shock’s-sake.
    • 56 Metascore
    • 70 Critic Score
    How the West Was Won
    It's a story [suggested by the series How the West Was Won in Life magazine] which naturally puts the spotlight on action and adventure, and the three directors between them have turned in some memorable sequences.
    • 74 Metascore
    • 70 Critic Score
    Days of Wine and Roses
    Miller’s gruelling drama illustrates how the unquenchable lure of alcohol can supersede even love, and how marital communication cannot exist in a house divided by one-sided boozing.
    • 88 Metascore
    • 100 Critic Score
    To Kill a Mockingbird
    To Kill a Mockingbird is a major film achievement, a significant, captivating and memorable picture that ranks with the best of recent years.
    • 48 Metascore
    • 80 Critic Score
    Mutiny on the Bounty
    This is a superb blending of direction, photography and special effects artistry.
    • 75 Metascore
    • 70 Critic Score
    What Ever Happened to Baby Jane?
    Once the inept, draggy start is passed, the film’s pace builds with ever-growing force.
    • 71 Metascore
    • 80 Critic Score
    Period of Adjustment
    Period of Adjustment is lower case Tennessee Williams, but it also illustrates that lower case Williams is superior to the upper case of most modern playwrights.
    • 94 Metascore
    • 100 Critic Score
    The Manchurian Candidate
    One of the wildest fabrications any author has ever tried to palm off on a gullible public. But the fascinating thing is that, from uncertain premise to shattering conclusion, one does not question plausibility of the events being rooted in their own cinematic reality.
    • 75 Metascore
    • 80 Critic Score
    The Longest Day
    A solid and stunning war epic.
    • 87 Metascore
    • 70 Critic Score
    Cléo from 5 to 7
    Sometimes invention falters, as in the scene with the songwriters. But Varda then easily picks up the threads and keeps alive interest in the girl and her plight.
    • 83 Metascore
    • 80 Critic Score
    The Miracle Worker
    Where the picture really excels, outside of its inherent story values, is in the realm of photographic technique. It is here that director Penn and cameraman Ernest Caparros have teamed to create artful, indelible strokes of visual storytelling and mood-molding.
    • 76 Metascore
    • 90 Critic Score
    Birdman of Alcatraz
    Birdman of Alcatraz is not really a prison picture in the traditional and accepted sense of the term. Birdman reverses the formula and brings a new breadth and depth to the form. In telling, with reasonable objectivity but understandably deep compassion the true story of Robert Stroud, it achieves a human dimension way beyond its predecessors.
    • 76 Metascore
    • 70 Critic Score
    Hell Is for Heroes
    Producer Henry Blanke has framed and mounted a gripping, fast-paced, hard-hitting dramatic portrait of an interesting World War II battlefield incident. But there are occasional duds in the film's dramatic arsenal.
    • tbd Metascore
    • 50 Critic Score
    Boys' Night Out
    Since the element of story surprise, so vital in humour, is completely absent in the Ira Wallach screenplay, adapted by Marion Hargrove from a story by Arne Sultan and Marvin Worth, the audience is forced to seek comedy rewards in isolated doses – individual gags and situations.
    • 76 Metascore
    • 80 Critic Score
    The Music Man
    Allowing something of slowness at the very start and the necessities of establishing the musical way of telling a story, plus the atmosphere of Iowa in 1912, that's about the only criticism of an otherwise building, punching, handsomely dressed and ultimately endearing super-musical.
    • 79 Metascore
    • 50 Critic Score
    Lolita
    Vladimir Nabokov's witty, grotesque novel is, in its film version, like a bee from which the stinger has been removed. It still buzzes with a sort of promising irreverence, but it lacks the power to shock and, eventually, makes very little point either as comedy or satire.
    • 55 Metascore
    • 50 Critic Score
    The Road to Hong Kong
    The script is spiced with a number of private jokes (golf, Hope’s nose, Crosby’s dough, reference to gags from previous Road films) but not enough to be irritating. Major disappointment is Joan Collins, who though an okay looker, never seems quite abreast of the comedians.
    • 92 Metascore
    • 70 Critic Score
    Ride the High Country
    It is Sam Peckinpah’s direction, however, that gives the film greatest artistry. He gives N. B. Stone Jr.’s script a measure beyond its adequacy, instilling bright moments of sharp humor and an overall significant empathetic flavor.
    • 97 Metascore
    • 80 Critic Score
    Jules and Jim
    A tender tale [from the novel by Henri-Pierre Roche] that avoids mawkishness and impropriety in treating the lives of two friends who are mixed up with a woman they share.
    • 94 Metascore
    • 70 Critic Score
    The Man Who Shot Liberty Valance
    The Man Who Shot Liberty Valance is an entertaining and emotionally involving western. Yet, while it is an enjoyable film it falls distinctly shy of its innate story potential.
    • 76 Metascore
    • 70 Critic Score
    Cape Fear
    As a forthright exercise in cumulative terror Cape Fear is a competent and visually polished entry.
    • 69 Metascore
    • 50 Critic Score
    Experiment in Terror
    The film treatment embraces a number of unnecessary character bits that merely extend the plot and, despite their striking individual reaction, deter from the suspense buildup.
    • 75 Metascore
    • 70 Critic Score
    Testament of Orpheus
    [Cocteau] still has a flair for provoking strange moods in ordinary landscapes, as well as utilizing simple trick effects effectively and judiciously. He ribs himself at times but is quite clear in his summation that a poet is rarely recognized in his time.
    • 53 Metascore
    • 70 Critic Score
    Sweet Bird of Youth
    Sweet Bird of Youth is a tamer and tidied but arresting version of Tennessee Williams' Broadway play. It's a glossy, engrossing hunk of motion picture entertainment, slickly produced by Berman.
    • 84 Metascore
    • 100 Critic Score
    Through a Glass Darkly
    Not a pleasant film, it is a great one.
    • 58 Metascore
    • 70 Critic Score
    Lover Come Back
    This is a funny, most-of-the-time engaging, smartly produced show. Farce has Rock Hudson as would-be conqueror of Doris Day, who as the victim of a who's-who deception plays brinkmanship with surrender.
    • 85 Metascore
    • 90 Critic Score
    Victim
    This is telling, moving stuff.
    • 49 Metascore
    • 80 Critic Score
    The Children's Hour
    Audrey Hepburn and Shirley MacLaine, in the leading roles, beautifully complement each other. Hepburn’s soft sensitivity, mar- velous projection and emotional understatement result in a memorable portrayal. MacLaine’s enactment is almost equally rich in depth and substance.
    • 60 Metascore
    • 60 Critic Score
    Judgment at Nuremberg
    Judgment at Nuremberg is twice the size of the concise, stirring and rewarding production on television's Playhouse 90 early in 1959. A faster tempo by producer-director Stanley Kramer and more trenchant script editing would have punched up picture.
    • 73 Metascore
    • 70 Critic Score
    One, Two, Three
    Billy Wilder's One, Two, Three is a fast-paced, high-pitched, hard-hitting, lighthearted farce crammed with topical gags and spiced with satirical overtones. Story is so furiously quick-witted that some of its wit gets snarled and smothered in overlap. But total experience packs a considerable wallop.
    • 79 Metascore
    • 90 Critic Score
    El Cid
    El Cid is a fast-action color-rich, corpse-strewn, battle picture. The Spanish scenery is magnificent, the costumes are vivid, the chain mail and Toledo steel gear impressive. Perhaps the 11th century of art directors Veniero Colasanti and John Moore exceeds reality, but only scholars will complain of that. Action rather than acting characterizes this film.
    • 55 Metascore
    • 60 Critic Score
    Babes in Toyland
    Walt Disney's first live-action musical, a lavish translation to the screen of Victor Herbert's operetta, Babes in Toyland, is an expensive gift, brightly-wrapped and intricately packaged. But some of the more mature patrons may be distressed to discover that quaint, charming Toyland has been transformed into a rather gaudy and mechanical Fantasyland. What actually emerges is Babes in Disneyland.
    • 86 Metascore
    • 100 Critic Score
    West Side Story
    West Side Story is a beautifully-mounted, impressive, emotion-ridden and violent musical which, in its stark approach to a raging social problem and realism of unfoldment, may set a pattern for future musical presentations. Screen takes on a new dimension in this powerful and sometimes fascinating translation of the Broadway musical to the greater scope of motion pictures.
    • 58 Metascore
    • 60 Critic Score
    Blue Hawaii
    Hal Kanter's breezy screenplay, from a story by Allan Weiss, is the slim, but convenient, foundation for a handsome, picture-postcard production crammed with typical South Seas musical hulaballoo.
    • 55 Metascore
    • 60 Critic Score
    The Comancheros
    The Comancheros is a big, brash, uninhibited action-western of the old school about as subtle as a right to the jaw.
    • 74 Metascore
    • 50 Critic Score
    Splendor in the Grass
    Elia Kazan's production of William Inge's original screenplay covers a forbidding chunk of ground with great care, compassion and cinematic flair. Yet there is something awkward about the picture's mechanical rhythm. There are missing links and blind alleys within the story. Too much time is spent focusing on characters of minor significance.
    • 77 Metascore
    • 90 Critic Score
    Breakfast at Tiffany's
    Out of the elusive, but curiously intoxicating Truman Capote fiction, scenarist George Axelrod has developed a surprisingly moving film, touched up into a stunningly visual motion picture.
    • 61 Metascore
    • 60 Critic Score
    Paris Blues
    Within its snappy, flashy veneer is an undernourished romantic drama of a rather traditional screen school.
    • 90 Metascore
    • 50 Critic Score
    The Hustler
    Unfoldment of the screenplay, based on novel by Walter S. Tevis, is far overlength, and despite the excellence of Newman’s portrayal of the boozing pool hustler the sordid aspects of overall picture are strictly downbeat.
    • 93 Metascore
    • 90 Critic Score
    Yojimbo
    Though this lacks the epic stature of Seven Samurai, Kurosawa here again shows his mastery of the medium.
    • 78 Metascore
    • 70 Critic Score
    Pit and the Pendulum
    A physically stylish, imaginatively photographed horror film which, though needlessly corny in many spots, adds up to good exploitation.
    • 49 Metascore
    • 70 Critic Score
    Voyage to the Bottom of the Sea
    Voyage is a crescendo of mounting jeopardy, an effervescent adventure in an anything-but-Pacific Ocean.
    • 72 Metascore
    • 80 Critic Score
    The Guns of Navarone
    It faced the problem of a director-switch in mid-stream. But with a bunch of weighty stars, terrific special effects and several socko situations, producer Carl Foreman and director J. Lee Thompson sired a winner.
    • 73 Metascore
    • 70 Critic Score
    The Parent Trap
    David Swift, whose writing, direction and appreciation of young Hayley Mills’ natural histrionic resources contributed so much to Pollyanna, repeats the three-ply effort on this excursion, with similar success.
    • 95 Metascore
    • 90 Critic Score
    La Dolce Vita
    The performances are uniformly excellent. Mastroianni is perfect in the key role of the basically good and honest boy who succumbs to the sweet life. Ekberg is a revelation as the visiting star, while Furneaux almost runs off with the picture as the reporter's instinctive, possessive mistress. (Review of original release)
    • 75 Metascore
    • 80 Critic Score
    The Absent Minded Professor
    On the surface, Walt Disney's The Absent Minded Professor is a comedy-fantasy of infectious absurdity, a natural follow-up to the studio's Shaggy Dog. But deeply rooted within the screenplay [from a story by Samuel W. Taylor] is a subtle protest against the detached, impersonal machinery of modern progress.
    • 96 Metascore
    • 70 Critic Score
    Breathless
    There are too many epigrams and a bit too much palaver in all this. However, it is picaresque and has enough insight to keep it from being an out-and-out melodramatic quickie.
    • 77 Metascore
    • 90 Critic Score
    The Misfits
    At face value, The Misfits, is a robust, high-voltage adventure drama, vibrating with explosively emotional histrionics, conceived and executed with a refreshing disdain for superficial technical and photographic slickness in favor of an uncommonly honest and direct cinematic approach. Within this framework, however, lurks a complex mass of introspective conflicts, symbolic parallels and motivational contradictions, the nuances of which may seriously confound general audiences.
    • 83 Metascore
    • 70 Critic Score
    101 Dalmatians
    While not as indelibly enchanting or inspired as some of the studio’s most unforgettable animated endeavors, this is nonetheless a painstaking creative effort.
    • 63 Metascore
    • 70 Critic Score
    Where the Boys Are
    Mimieux, in a demanding role, gets by dramatically. Visually she is a knockout, and has a misty quality.
    • 51 Metascore
    • 40 Critic Score
    The Grass Is Greener
    The Hugh and Margaret Wilson screenplay, adapted from their London stage hit, slowly evolves into a talky and generally tedious romantic exercise, dropping the semi-satirical stance that brightens up the early going.
    • 61 Metascore
    • 40 Critic Score
    Swiss Family Robinson
    The rather modest 1813 Johann Wyss tale has been blown up to prodigious proportions. The essence and the spirit of the simple, intriguing story of a marvelously industrious family is all but snuffed out, only spasmodically flickering through the ponderous approach.
    • 70 Metascore
    • 70 Critic Score
    Exodus
    Transposing Leon Uris' hefty novel to the screen was not an easy task. It is to the credit of director Otto Preminger and scenarist Dalton Trumbo that they have done as well as they have. One can, however, wish that they had been blessed with more dramatic incisiveness.
    • 82 Metascore
    • 90 Critic Score
    The Sundowners
    Jon Cleary's novel is the basic source from which director Fred Zinnemann's inspiration springs. Between Cleary and Zinnemann lies Isobel Lennart's perceptive, virile screenplay, loaded with bright, telling lines of dialog and gentle philosophical comment. But, fine as the scenario is, it is Zinnemann's poetic glances into the souls of his characters, little hints of deep longings, hidden despairs, indomitable spirit that make the picture the achievement it is.
    • 77 Metascore
    • 50 Critic Score
    Village of the Damned
    Tapers off from a taut beginning into soggy melodrama. Wolf Rilla’s direction is adequate, but no more.
    • 48 Metascore
    • 50 Critic Score
    BUtterfield 8
    Alterations made on John O'Hara's 1935 novel by the scenarists (among other things, they have updated it from the Prohibition era, spectacularized the ending and refined some of the dialog) have given Butterfield 8 the form and pace it needs, but the story itself remains a weak one, the behavior and motivations of its characters no more tangible than in the original work.
    • 74 Metascore
    • 70 Critic Score
    The Magnificent Seven
    Until the women and children arrive on the scene about two-thirds of the way through, The Magnificent Seven is a rip-roaring rootin' tootin' western with lots of bite and tang and old-fashioned abandon.
    • 87 Metascore
    • 100 Critic Score
    Spartacus
    There is solid dramatic substance, purposeful and intriguingly contrasted character portrayals and, let's come right out with it, sheer pictorial poetry that is sweeping and savage, intimate and lusty, tender and bitter sweet.
    • 60 Metascore
    • 60 Critic Score
    Midnight Lace
    Director David Miller adds a few pleasant little humorous touches and generally makes the most of an uninspired yarn.
    • 89 Metascore
    • 80 Critic Score
    The Hidden Fortress
    the picture is really director Akira Kurosawa’s, who takes what could have been a terribly unwieldy subject and makes it believable and highly entertaining. Ichio Yamazaki’s camerawork is first-rate.
    • 70 Metascore
    • 60 Critic Score
    The Entertainer
    Tony Richardson, the director, makes several mistakes. But he has a sharp perception of camera angles, stimulates some good performances and, particularly, whips up an excellent atmosphere of a smallish British seaside resort.
    • 82 Metascore
    • 90 Critic Score
    Sunrise at Campobello
    In the journey from stage to screen this chapter from the life of Franklin Delano Roosevelt loses none of its poignant and inspirational qualities, none of its humor and pathos.
    • 97 Metascore
    • 90 Critic Score
    Psycho
    Perkins gives a remarkably effective in-a-dream kind of performance as the possessed young man. Others play it straight, with equal competence.
    • 57 Metascore
    • 60 Critic Score
    Ocean's 11
    Laboring under the handicaps of a contrived script, an uncertain approach and personalities in essence playing themselves, the production never quite makes its point, but romps along merrily unconcerned that it doesn't.
    • 67 Metascore
    • 70 Critic Score
    The Time Machine
    The social comment of the original has been historically refined to encompass such plausible eventualities as the physical manifestation of atomic war weapons. But the basic spirit of Wells' work has not been lost.
    • 75 Metascore
    • 80 Critic Score
    Inherit the Wind
    This is a rousing and fascinating motion picture. Producer-director Stanley Kramer has held the action in tight check.
    • 70 Metascore
    • 50 Critic Score
    The Bellboy
    From an artistic standpoint, The Bellboy is minor-league screen comedy, the victim of its energetic star's limited craftsmanship.
    • 61 Metascore
    • 70 Critic Score
    Bells Are Ringing
    Better Broadway musicals than Bells Are Ringing have come to Hollywood, but few have been translated to the screen so effectively.
    • 80 Metascore
    • 80 Critic Score
    Darby O'Gill and the Little People
    People of all sizes will get a bang out of Darby O'Gill And The Little People. [29 Apr 1959, p.6]
    • Variety
    • 75 Metascore
    • 70 Critic Score
    House of Usher
    In patronizingly romanticizing Poe's venerable prose, scenarist Richard Matheson has managed to preserve enough of the original's haunting flavor and spirit. The elaborations change the personalities of the three central characters, but not recklessly so.
    • 94 Metascore
    • 90 Critic Score
    The Apartment
    Second half of the picture is loosely constructed and tends to lag as the rahers go through their paces in over-extending the major plot angle. Most of the time, it’s up to director Wilder to sustain a two-hour-plus film on treatment alone, a feat he manages to accomplish more often than not, and sometimes the results are amazing.
    • 66 Metascore
    • 70 Critic Score
    Pollyanna
    In Walt Disney's Pollyanna Hayley Mills' work more than compensates for the film's lack of tautness and, at certain points, what seems to be an uncertain sense of direction.
    • 54 Metascore
    • 50 Critic Score
    Suddenly, Last Summer
    It has some very effective moments, but on the whole it fails to move.
    • 55 Metascore
    • 70 Critic Score
    On the Beach
    On the Beach is a solid film of considerable emotional, as well as cerebral, content. But the fact remains that the final impact is as heavy as a leaden shroud. The spectator is left with the sick feeling that he's had a preview of Armageddon, in which all contestants lost.
    • 90 Metascore
    • 100 Critic Score
    Ben-Hur
    Ben-Hur is a majestic achievement, representing a superb blending of the motion picture arts by master craftsmen.
    • 73 Metascore
    • 70 Critic Score
    Pillow Talk
    A sleekly sophisticated production that deals chiefly with s-e-x.
    • 69 Metascore
    • 60 Critic Score
    Look Back in Anger
    Richardson's is a technical triumph, but somewhere along the line he has lost the heart and the throb that made the play an adventure. The film simultaneously impresses and depresses.
    • 98 Metascore
    • 100 Critic Score
    North by Northwest
    North by Northwest is the Alfred Hitchcock mixture - suspense, intrigue, comedy, humor. Seldom has the concoction been served up so delectably.
    • 78 Metascore
    • 90 Critic Score
    The Nun's Story
    Fred Zinnemann's production is a soaring and luminous film. Audrey Hepburn has her most demanding film role, and she gives her finest performance. Despite the seriousness of the underlying theme, The Nun's Story [from the book by Kathryn C. Hulme] has the elements of absorbing drama, pathos, humor, and a gallery of memorable scenes and characters.
    • 95 Metascore
    • 90 Critic Score
    Anatomy of a Murder
    Preminger purposely creates situations that flicker with uncertainty, that may be evaluated in different ways. Motives are mixed and dubious, and, therefore, sustain interest.
    • 77 Metascore
    • 70 Critic Score
    Porgy and Bess
    As screen entertainment, Porgy and Bess retains most of the virtues and some of the libretto traits of the folk opera.
    • 88 Metascore
    • 90 Critic Score
    Wild Strawberries
    Pic sometimes talks too much in philosophical asides, but it remains a searching pictorial analysis of a man’s life. Expert directorial touches and notations of director Ingmar Bergman, and the dignified miming of oldtime director Sjostrom, plus other fine thespic additions, make this an offbeater. It’s a personal and profound work.
    • 93 Metascore
    • 80 Critic Score
    Rio Bravo
    Producer-director Howard Hawks makes handsome use of force in logically unravelling his hard-hitting narrative, creating suspense at times and occasionally inserting lighter moments to give variety.
    • 84 Metascore
    • 90 Critic Score
    Room at the Top
    Neil Paterson's literate, well-molded screenplay is enhanced by subtle, intelligent direction from first-timer Jack Clayton and a batch of topnotch performances.
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