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Three O'Clock High

Three O'Clock High

Comedy · 1987

Nerdy high schooler Jerry Mitchell is assigned to write an article for the school paper about the infamous new delinquent transfer student, Buddy Revell. When Jerry accidentally invades Buddy's personal space and touches him, Buddy challenges Jerry to an afterschool fight in the parking lot, which Jerry tries to avoid at all costs.

Movie details

Three O'Clock High

“Jerry Mitchell just bumped into Buddy Revell. Now Jerry isn't thinking about math or english. Because at three o'clock, he's history.”

1987 Comedy 1h 39m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Nerdy high schooler Jerry Mitchell is assigned to write an article for the school paper about the infamous new delinquent transfer student, Buddy Revell. When Jerry accidentally invades Buddy's personal space and touches him, Buddy challenges Jerry to an afterschool fight in the parking lot, which Jerry tries to avoid at all costs.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Three O'Clock High?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Phil Joanou

Written by

Richard Christian Matheson · Tom Szollosi

Casey Siemaszko

Casey Siemaszko

Jerry Mitchell

A

Annie Ryan

Franny Perrins

Richard Tyson

Richard Tyson

Buddy Revell

Stacey Glick

Stacey Glick

Brei Mitchell

Jonathan Wise

Jonathan Wise

Vincent Costello

Jeffrey Tambor

Jeffrey Tambor

Mr. Rice

Philip Baker Hall

Philip Baker Hall

Detective Mulvahill

Court is in session

Put Three O'Clock High on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Cool Ironist

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.