High Noon (1952)

89

Based on 7 critic reviews provided by

100	The New York Times Meaningful in its implications, as well as loaded with interest and suspense, High Noon is a western to challenge “Stagecoach” for the all-time championship. (Review of Original Release)
100	ReelViews James Berardinelli The Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace.
100	TV Guide Magazine Not a frame is wasted in this taut, superbly directed, masterfully acted film, the first so-called "adult Western." (Review of Original Release)
100	Washington Post Stephen Hunter A terrific piece of filmmaking. It's taut, believable as it unspools. It's charismatic, with a slow buildup of tension in near-real time that finally explodes into a blast of violence.
80	Village Voice Michael Atkinson Possibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut.
80	Variety Cooper does an unusually able job of portraying the marshal. (Review of Original Release)
70	Chicago Reader Jonathan Rosenbaum Some of the results ring false, but the memorable theme song and some equally memorable character acting (by Thomas Mitchell and Lon Chaney Jr. more than Lloyd Bridges and Katy Jurado) help things along.

Critic Reviews