Tampa Bay Times' Scores

  • Movies
For 987 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 4.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Mission: Impossible
Lowest review score: 0 Sucker Punch
Score distribution:
  1. Negative: 91 out of 987
987 movie reviews
  1. Hanks keeps things interesting with an array of concerned expressions and distant gazes. But there's no tension in faked suffering. The actor and Eastwood's movie are limited by the goodness of their subject, the flawlessness of his actions.
  2. The Boss feels like a fun character gradually wasted.
  3. The reason this overstuffed movie remains tolerable is the inspired casting of Robert Duvall and Robert Downey Jr. as a combative father and son, and their determination to out-thespian each other.
  4. Woo directs Mission: Impossible 2 cautiously, as if still introducing himself to U.S. audiences despite Face-Off and Broken Arrow. Or maybe he has nothing left to say about the poetry of violence after such visual eloquence in his Chinese classics. [24 May 2000, p.1D]
    • Tampa Bay Times
  5. Soderbergh doesn't always match his pacing to Mallory's fury.
  6. Leigh's characters merely act in a goofy and irritating fashion until their dramatic pay-off scenes. This uneven style cheats fine actors out of the chance to shade their roles rather than rely upon black-and-white emotions. [6 Mar. 1992, p.10]
    • Tampa Bay Times
  7. Identity Thief is a road movie with its creative lanes clogged, and a Mack truck comedian barreling through, anyway.
  8. Buying a ticket to see It Could Happen to You is like purchasing a Lotto ticket with three matching numbers; you get back a little more than you paid for it, but the thrill is quickly replaced by nagging thoughts of what might have been.
    • Tampa Bay Times
  9. Cumberbatch is very good, in a movie that isn't.
  10. Almodóvar dives into perversity, practically daring the audience not to follow. The Skin I Live In is a mediocre addition to his resume, yet for fans, even bad Almodóvar is better than none at all.
    • 60 Metascore
    • 58 Critic Score
    Director Derek Cianfrance attempts to bring the emotional rawness of his previous films and influences to the melodrama genre with The Light Between Oceans, but he never quite pulls off the feat.
  11. Knight and Day never makes sense from the opening credits. Heck, the title is only half-explained, and not as cleverly as the pun deserves. It's a movie that never gestated beyond the pitch: Glamorous stars in exotic locales, shooting and driving their way to safety through a gantlet of bad guys chasing a MacGuffin.
  12. Like a struggling sprinter, Stephen Hopkins' film suffers from wasted motion, too much going on. It's the difference between a merely competent movie and one justifying more discussion of Hollywood's commitment to reward diversity.
  13. The strategy deserves to self-destruct in five seconds.
  14. The Conjuring 2 is serviceable horror, heavy on the audio stings yet smarter than the average gorefest.
  15. It's the garish swarm of colorfully twisted action that Batman v Superman needed, the anarchic approach such timeworn superheroes deserve. Suicide Squad characters aren't nearly as familiar, so writer-director David Ayer's movie is also messy, not entirely by design.
  16. Live by Night is ambitious to a fault, with so much material and technical pizzazz that a cable miniseries format might have been a better way to go.
  17. Depp is the only reason this haphazard take on the Lone Ranger legend exists, at least in this swollen state, begging the question of why Disney didn't name the movie Tonto.
  18. It's a pleasing tribute to Steadman, but there's a sense that Paul would really prefer to focus on Thompson's brand of altered-state brilliance, which has been covered in documentaries before. If you're a gonzo completist, For No Good Reason is a must-see.
  19. The 33 has a disappointing lack of depth for a movie about being trapped 2,400 feet below.
  20. It's Lane who's saddled with dragging this nag over the finish line, with her cliched portrayal of another single-minded woman beating men at their own game.
  21. Baruchel aside, The Sorcerer's Apprentice contains a few minor delights. One is Cage's surprisingly low-key approach to a role that he could be expected to play over the top.
  22. Wang's high regard for women is intact, plus a keen eye for period detail making the 19th century sequences lovely to observe. But it's nothing we haven't seen before.
  23. Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
  24. Everything was awesome in 2014's The Lego Movie, a high-wire risk paying off with a new look in computer animation based on Lego's interlocking design. The Lego Ninjago Movie hasn't abandoned that uniqueness but certainly reins it in.
  25. At least This Means War is an equal opportunity misfire, with as much appeal for men as women, compared to a one-sided weeper like "The Vow."
  26. Field's eager-to-please performance makes [Showalter's] shovelfuls of sugar go down easier.
  27. The Homesman isn't as confident with balancing madness and dark humor as Jones' only previous directing job, 2005's border odyssey The Three Burials of Melquiades Estrada. This movie's switchback plotting ambles from crisis to comical, threatening to maintain a tone but not for long.
  28. The redneck rust bucket is on screen so much that 3-D glasses should come with tetanus shots.
  29. It's a one-note character that Bardem builds into a complex emotional chord, lessening the urge to dismiss Biutiful solely as an endurance test for viewers.

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