Tampa Bay Times' Scores

  • Movies
For 658 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 6 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Blue Valentine
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 61 out of 658
658 movie reviews
  1. Like Bertie's struggle, there's so much wonderment to articulate about this film that being mistaken for a stammering idiot is a risk. See it, then say it for yourself: The King's Speech is the best movie of 2010.
  2. With Amour, it's the rare feeling of watching a masterpiece unfold.
  3. I've watched Sleepwalk With Me twice now, each time impressed with Birbiglia's confidence in revealing so much about his craft and himself, and the freely associated style with which he does it.
  4. Think "Catch Me If You Can" mashed up with "Brokeback Mountain" if Mel Brooks directed and you'll get the idea.
  5. Lawrence is in every scene of Winter's Bone, leaving her plenty of opportunity to make false moves. I dare you to find one, in a performance to be remembered during awards season.
  6. The Cabin in the Woods isn't merely another "Scream" exercise in self-awareness, or a "Scary Movie" spoof of the same. It's a wickedly smart hybrid mutation, biting the severed hand feeding the genre.
  7. This is a rapturous cinematic experience, a spellbinding expression of shrouded ideas and exposed talent, top to bottom.
  8. Restrepo is about soldiers, not politics. The question of whether U.S. troops belong there isn't posed. Their devotion to duty and each other is unquestioned.
  9. One of the year's best documentaries.
  10. Considering Parts 1 and 2 of Deathly Hallows as a single enterprise, as they should be, this is a rare franchise that just kept getting better.
  11. Miller unravels this story with the grim inevitability of a death row vigil, but not without flashes of sly humor.
  12. Rango is wild, woolly and weird, and the first movie of 2011 that I must see again.
  13. In a movie year of more than two dozen animated films, this and "Rango" tower over all others. Welcome to America, Tintin. It's great getting to know you.
  14. Man of Steel is more than just Avengers-sized escapism; it's an artistic introduction to a movie superhero we only thought we knew.
  15. Buck is a movie to be revisited again and again, like passages from a satisfying self-help book. Riding experience isn't necessary to realize how extraordinary this man and his calling are.
  16. Kaur and Khan, who was robbed of a IIFA nod, scarcely share a frame of The Lunchbox, yet the emotional connection of their characters is palpable.
  17. Yes, Kermit does reprise The Rainbow Connection, surely one of the loveliest movie songs ever and, yes, it still brings tears to your eyes. Happy tears, realizing some marvelous things never change.
  18. Hazanavicius crafted more than a replica of the silent era; this feels like a time capsule found 80 years later, right on time to be revolutionary in a louder world. Yet The Artist is a masterwork that likely won't be imitated. How many movies in 2011 can you say that about? Only the best one.
  19. Rio
    Bursting with color and rippling with samba rhythms, Rio makes you wonder why animated films haven't spent more time in Brazil.
  20. It's irreverent about cancer and that could be inspirational. And it's surely one of the most enjoyable movies I've seen all year.
  21. A League of Their Own is a grand-slam comic drama. Superbly written, acted and directed. [1 July 1992, p.1D]
    • Tampa Bay Times
  22. Stealth is a key element of tension and, even though DePalma tosses his share of fireballs around, Mission: Impossible gets edgier when it gets quieter. The audience's rapt, empathetic silence while Hunt hangs there in peril proves how well the director does it. [24 May 1996, p.5]
    • Tampa Bay Times
  23. Yes, this one is even better: funnier, brawnier and ingeniously constructed for appeal to both devoted fans and reluctant converts.
  24. The Coens fashion an atmospheric descent for Llewyn, a meticulous re-creation of Greenwich Village's folk scene in 1961, around the time Bob Dylan hit town.
  25. Her
    So many things could go terribly wrong with Spike Jonze's Her, and it's a small cinematic miracle that nothing does.
  26. What "Shaun of the Dead" and "Hot Fuzz" did for zombie and cop flicks The World's End does for sci-fi fatalism, respecting its doomsday tropes while presenting them with cheeky wit and a refreshing strategy of sensory underload.
  27. The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.
  28. At this point in his celebrated career, there shouldn't be much new that Hanks can show us. But there is, as the actor reaches deep inside to express the relief of dodging death as I've never seen it played before. He's in shock; we're awed.
  29. It's a remarkable movie, the first of 2015 that I can't wait to see and hear again.
  30. The funniest comedy of degeneracy since "Bad Santa," and a career-changer for Aniston and Farrell if they'll only keep following their perverted muses. Horrible Bosses spins hostile work environments into a movie surpassing "9 to 5" and "Office Space" as the touchstone flick for disenchanted drones.

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