Tampa Bay Times' Scores

  • Movies
For 1,090 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 42
Lowest review score: 0 I'm Still Here
Score distribution:
1090 movie reviews
    • 63 Metascore
    • 42 Critic Score
    Full of gratuitous sexual innuendoes and death-defying closeups of Playboy covergirl Anna Nicole Smith's anatomy, the film lacks most of the zest that made the original so tasty. [18 Mar 1994, p.6]
    • Tampa Bay Times
  1. Jonah Hex isn't abrupt by design but by desperation.
    • 32 Metascore
    • 42 Critic Score
    Fails both as a film and even as fan service.
  2. Disney's remake of Mighty Joe Young has little to recommend except more realistic special effects than the 1949 original and a handful of kid-sized thrills. The movie feels designed only to pass some time in a theater, without much attention to anything except building the perfect cuddly beast. [25 Dec 1998, p.8]
    • Tampa Bay Times
  3. Filmmakers simply can't make Tarzan like they used to. If someone tries, like director David Yates did with The Legend of Tarzan, he's just another superhero, swinging on vines rather than spider webs. Natives can't be restless. Lions won't be wrestled...Tarzan fans leave feeling Cheetah'd.
  4. Paul Haggis is positive that withholding information while John makes "A Beautiful Mind" flow charts and deals with bad dudes will keep it interesting. Haggis is wrong.
  5. Blended is simply more of the stale Sandler formula that audiences wisely haven't sought as much.
  6. As director and writer, MacFarlane appears to have forgotten everything about cinematic standards of pacing, characterization and meaningful smut, resulting in an encore that's slow, sketchy and dumb-dirty.
  7. Harrelson and Dern's efforts aside, Wilson is indie ennui at its emptiest, a vessel of misshapen wit with a hole in the bottom. Its nihilism is exhausting. Oddness gets oppressive when a movie goes through more mood swings than its unbalanced heroes.
  8. Nothing to skip school over but at least it's not in 3-D. No sense in paying an extra ticket charge for something belonging on TV, anyway.
  9. Vittorio Storaro's cinematography is superb, casting gauzy glows and sensual silhouettes against impressively designed sets. Allen drops a few philo-cynical lines worthy of his reputation but not nearly enough.
  10. Fey and Poehler remain game throughout, mustering a bit of besties magic here and there. Sisters flips a tested formula to become the New Coke of comedy, looking familiar and bubbly on the surface, disposable before it's finished.
  11. DuVernay finds herself in the unenviable position of being both the right and wrong person for an important job. A Wrinkle in Time is gratifying for what it is, a step forward for creative women of color, and so disappointing for what it turns out to be.
  12. Timecop has its fleeting moments of fun; mostly when Van Damme finally starts ribbing himself, years after Stallone and Schwarzenegger poked a hole in their own musclebound images. But director Peter Hyams and screenwriter Mark Verheiden (who co-created the Timecop comic book character) aren't nearly as clever as they think they are. [16 Sep 1994, p.6]
    • Tampa Bay Times
  13. For all its professional sheen, Species is a film that mistakenly believes it is smarter than the audience, scarier than any movie before it, and completely original. It's enough to make you laugh, if the filmmakers ever gave any impression that we're supposed to do that. Instead, we sit through 111 minutes of box office staples - sex, violence, more sex, more violence - and keep track of the better movies that Donaldson rips off. [07 July 1995, p.9]
    • Tampa Bay Times
  14. Date Night is really just another example of what happens when funny sitcom stars are lumped together in a movie, believing that laughter exponentially increases with screen size.
  15. Kingsman: The Golden Circle is a tarnished sequel demolishing the original's balderdash charm in tumble-dry camera moves, CGI slosh and Elton John f-bombs.
  16. Pan
    Director Joe Wright's movie barely gets off the ground, and gets old quickly.
  17. The Night Before isn't anything Harold, Kumar or Billy Bob Thornton didn't desecrate before and better.
  18. The fifth edition of the franchise, A Good Day to Die Hard, is the brawniest and most brainless of the bunch.
  19. The concept is rich with potential to offend yet after a promising opener Cody doesn't seem interested.
  20. A movie that wouldn't get much attention if the creator of "Titanic" and "Avatar" (as the ads overhype) weren't tangentially involved.
  21. Clash of the Titans redefines 3-D but in the wrong way; the movie is dull, dingy and, well, let's just say dull again.
  22. Step Up Revolution is a bad movie with a few good moments, usually when the cast sets aside delusions of acting prowess and does what comes naturally to them.
    • 47 Metascore
    • 40 Critic Score
    Take away the quality look of this movie and the sensitive performance of Ford (he makes Phil Donahue look brutish), and there's a plot shamelessly tugging at heartstrings. It comes complete with a beagle puppy and a freckle-faced child, raising the saccharine level. [10 July 1991, p.1D]
    • Tampa Bay Times
  23. This tender tale of two sisters coping with their free-spirited mother in innocent 1963 is just too cute. It needs some chinks in its gossamer-glazed armor. [14 Dec 1990, p.12]
    • Tampa Bay Times
  24. Writer-director Luis Valdez's movie is an example of just how tedious a bio-pic can be. [24 July 1987, p.3D]
    • Tampa Bay Times
  25. Overboard is predictable, yet charming. Russell exudes a natural earthiness that lends itself to this type of material. Hawn plays gamely along. While Overboard recalls director Marshall's (Nothing in Common) sitcom days, the movie is shot with the sort of graininess that can never be mistaken for television. It could look a lot better. [18 Dec 1987, p.7]
    • Tampa Bay Times
    • 36 Metascore
    • 40 Critic Score
    Unfortunately, Can't Buy Me Love is not particularly funny. Rash is so concerned with exploring the abhorrent high school caste system - making a teen comedy with a conscience - that the story ultimately becomes leaden and pedantic. Add to this the movie's predictability at every turn, including an ever-so-tidy conclusion, and you end up with something that's little more than a nice try. [14 Aug 1987, p.3D]
    • Tampa Bay Times
  26. For all its shortcomings and long speeches, The Presidio is to be credited for trying to reach beyond formula. Hyams and screenwriter Ferguson (Highlander, Beverly Hills Cop II) have aspired to make more than a mismatched buddy movie. But the task has proved too intricate for them to achieve. [10 June 1988, p.6]
    • Tampa Bay Times

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