The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.
From the Critics
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Night World is an astonishingly compact 57-minute extravaganza, all of which takes place at the upscale (but somewhat less-than-swank) nightclub owned by good-natured racketeer Happy MacDonald (Boris Karloff) (complete with a winning, grinning smile). In a story arc of no more than a couple of hours, MacDonald is betrayed by his faithless wife (Doris Revier), who has been cavorting with the club's stage producer (Russell Hopton), and who sets her husband up to be killed by a rival; the gentle, articulate African-American doorman (Clarence Muse) learns the fate of his beloved wife, whose stay in the hospital has been a source of worry for him all night; despondent socialite Michael Rand (Lew Ayres), the son of an acquitted murderess, meets chorus girl Ruth Taylor (Mae Clarke), who turns out to have a heart-of-gold; and gets to confront his mother (Hedda Hopper), a viciously self-centered and venal woman. But Michael and Ruth soon find themselves caught in the midst of the mob's attempt on Happy's life, and facing a pair of assassins who would just as soon kill them as look at them. All of these story threads are interspersed between a good deal of backstage banter -- including a tense pair of vignette with tough-guy Ed Powell (George Raft, about as scary as he ever looked on screen) -- and a Busby Berkeley-choreographed dance number that, despite the low-budget and obviously fast shooting schedule of this picture, manages to work in the latter's celebrated overhead camera angles and other requisite visual touches.