Tampa Bay Times' Scores

  • Movies
For 553 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Artist
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 52 out of 553
553 movie reviews
  1. The movie's first half is its funniest, as Moore sets up this alternate low-resolution universe.
  2. How many surprises and peaks can Walken possibly have left, after so many movies and memorable roles? Well, there's this one.
  3. Snitch is grittily streetwise, and until its last 20 minutes fairly credible compared to other movies "inspired by" true stories.
  4. Stoker operates in a perpetual state of dread, a sophisticated Southern gothic that starts out confusing and winds up as a perversely humorous coming-of-age yarn.
  5. Tampa Bay wears fringe nihilism well, including wet-fever dreams of trigger-happy angels floating on cannabis clouds and dusted with cocaine like beignets waiting to be licked clean. Or drug gangstas sporting cornrows and gold-grill teeth, living large and thinking three-ways. Film as a fetish tool, that's what Spring Breakers is all about, y'all.
  6. As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible.
  7. The images captured by cinematographer Adam Arkapaw are more dreamy than nightmarish as if his camera — like the children — doesn't fully understand the dangers.
  8. Baumbach keeps everything dialed down to medium cool, with occasional flashes of exuberance like Frances dancing down a street to the beat of David Bowie's Modern Love.
  9. This movie has everything up its sleeve and presto chango at its core, ending in defiance to the plot's established logic before viewers realize they've been had.
  10. Whatever Career Girls lacks in polish or ambition, it compensates with three memorable performances and an unwavering filmmaker working on nobody's terms except his own. [5 Sep. 1997, p.3]
    • Tampa Bay Times
  11. There are no boundaries in this movie, so deal with it or leave.
  12. Much Ado About Nothing is simply a fun time among Whedon and his friends, and for the most part it's contagious.
  13. If comic book movies are the last place you look for a soulful, serious performance, The Wolverine should be your first.
  14. 2 Guns is a movie based on smart callbacks and sly flip-flops of loyalty, regularly interrupted by spasms of well-staged violence.
  15. The role of Albert in Nicole Holofcener's Enough Said is closer to who the man was, and who the actor seldom got the chance to play: bearish yet soft-spoken, a self-confessed slob with a soul bigger than his gut. There's warmth pouring from those slitted eyes, loosening up guarded smiles as Albert takes a chance on love again.
  16. The easiest way for filmmakers to show injustice in the world is through the eyes of a child. In the case of Haifaa al-Mansour's movie, the injustice is Saudi Arabia's male-centric culture, and the child is a preteen girl named Wadjda.
  17. Director Jean-Marc Vallee dutifully progresses from one obvious scene to the next. Solid work but unspectacular, perhaps figuring the boldness of his characters' words and actions can be artistic enough. And it is, in the hands of a temporarily reformed sex symbol and his unexpected leading lady.
  18. Philomena is simply one of those small, true stories that astonish in print and inspire good movies.
  19. Frozen impresses by conveying coldness in all its frostbitten beauty, from northern lights and blizzards, to ice magnifying, refracting and reflecting light. The movie is a lovely example for animation enthusiasts to study.
  20. There's a pervasive cruelty, a condescension toward common folks like the Westons that's frequently off-putting, even as we're laughing.
  21. As viscerally exciting as Padilha's RoboCop can be, the movie is elevated by serious considerations of the ethics of using robots as guardians (shades of drones), commercialism, playing God with science, and what being human is about.
  22. If this was December, Kevin Hart might be in the Oscar mix, he's that good in About Last Night. Explosively good, a comedy nova who won't shut up and never should.
  23. Choosing any unwieldy subplot to trim from Rio 2 is tough, as they're each so vibrantly rendered.
  24. Heaven Is for Real works in mysterious ways for a faith-based movie. It actually leaves room for doubt, in a genre founded on Christian absolutes. Tears aren't jerked; bibles aren't thumped. Believing gets easier.
  25. There is still Spider-Man's personal turmoil, crises of romance and loyalty, that Webb occasionally holds a few beats too long. Yet the performances ring true, with arresting chemistry where it counts.
  26. There's a subtle wisdom to this screenplay that complements its exceedingly bad taste, small lessons among the laughs.
  27. X-Men: Days of Future Past effectively passes the torch from one generation of socially segregated mutants to the next.
    • 65 Metascore
    • 83 Critic Score
    With Grisham's high profile and higher paychecks, his novels-turned-movies always will be on trial by critics and readers. The only thing The Client is guilty of is being suspenseful, funny and worth an extra trip to the theater this summer. [20 July 1994, p.6B]
    • Tampa Bay Times
  28. Even when The Net goes off-line, Bullock's captivating presence is a screen saver. [28 July 1995, p.6]
    • Tampa Bay Times
  29. How to Train Your Dragon 2 is how to make a sequel, when it gets its head out of the clouds.

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