Tampa Bay Times' Scores

  • Movies
For 859 reviews, this publication has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Toy Story 3
Lowest review score: 0 Little Fockers
Score distribution:
  1. Negative: 81 out of 859
859 movie reviews
  1. Starting with a mountainside rescue setting up Ray's bravery, through cities ruined and a tsunami leveling San Francisco, San Andreas is gnaw-your-knuckle fun. Which is the roller coaster conflict that comes with the disaster movie genre, the closeness to horrific reality that attracts millions yet repels a sensitive few.
  2. Concussion is essentially Erin Brockovich with shoulder pads, a crowd pleaser built upon an issue long ignored.
  3. To borrow just a few of Aleichem's words that are ingrained in Jewish culture: "It could be worse."
  4. Lion can't avoid seeming lesser in the second half after Davis' mesmeric first but it's solid storytelling nonetheless. Bring the Kleenex.
  5. Bad Words isn't an entirely auspicious beginning to Bateman's career behind the camera, but a riotous performance suggests what a wonderful louse he can be.
  6. Movies about cooperating Africans and Americans often take a condescending risk of great white saviors making everything better for poor black folks. The Good Lie isn't that sort of movie, except in its marketing.
  7. The Campaign is below-the-Beltway humor, stretching obvious targets to raunchy extremes.
  8. It's a movie of terrific performances and rousing comeuppances, with a side order of corn pone for the soul.
  9. Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise.
  10. Not rocket science by a moonshot but sporadically dumb fun.
  11. It's a welcome chance to learn more about Lisbeth Salander, the kinky, punk hacker and pop culture phenom played by Noomi Rapace.
  12. Danny Collins isn't the most artistic or surprising movie, and Fogelman's appropriation of Lennon's music to explain what's obvious gets stale. But it does contain a wonderful performance by Pacino, when it was debatable if we'd ever say that again.
  13. Anchored by Natalie Portman's uncanny impersonation — wispy voice, aristocratic posture — Jackie fascinates and frustrates, sometimes at once. We can't be certain any of her actions here are true. Some don't seem likely.
  14. Director Wes Ball makes a solid feature film debut, without any noticeable video game envy to his action sequences.
  15. It's easy to see why neither Home Depot nor Lowe's chose to go the product placement route. Too many cleanups in the power tool department.
  16. Fortunately, Hooper has a pair of extraordinary actors on which to hang The Danish Girl, two of the finest performances of women this year.
  17. Big Eyes is an entertaining take on a pop culture footnote, short on the bizarre flourishes Burton typically employs.
  18. There are strange, midnight movie pleasures found in Smith's movie.
  19. Edge of Tomorrow may be the best video game movie ever made. Which is strange since it isn't actually based on a video game.
  20. The globetrotting is reined in, the mayhem at each stop just as exciting. Renner is a sturdy action hero, with an interesting face that unlike Damon's appears to have taken a punch or two.
  21. Spurlock's meetings with skeptical corporate types are punctuated by comments from filmmakers about how product placement - or in Quentin Tarantino's case, being turned down by Denny's - influences creativity.
  22. Black Swan is a stage door melodrama putting new spins on cliches as old as "All About Eve" (and maybe Adam). Setting them among ballerinas as opposed to showgirls or movie stars doesn't make them any less familiar.
  23. Youth is a movie of dreamscapes and insinuated feelings, gorgeous and puzzling at once.
  24. It's rare to wish a movie were an hour or two longer, when it already feels an hour longer than it is.
  25. A boxing movie swinging in too many directions at once, as if someone sneaked a third clubber into the ring. All the emotional punches land solidly, to occasionally devastating effect, but at the conclusion you're not sure which competing cliche wins.
  26. Mother and Child is depressively interesting, with characters constantly ruining their best chances at happiness.
  27. Despite its unsavory aspects, Sin City: A Dame to Kill For is always a pleasure to observe, so artfully artificial with its green-screened backdrops and CGI props.
  28. We can now agree that Johnson is not only the Sexiest Man Alive but also our strongest, lifting Moana on his character's beefy shoulders, carrying it like other hits before. No movie left behind.
  29. JFK
    Stone's riveting three-hour movie freely mixes black and white and color documentary footage with pseudo-documentary and dramatic footage, so the line between real and fabrication is constantly blurred. [20 Dec 1991, p.7]
    • Tampa Bay Times
  30. The Farrellys affectionately structure their movie to resemble the Stooges' one-reelers from the 1930s, while the modern setting shows how timeless their rapid-fire puns, insults and pratfalls truly are. Silliness never goes out of style.

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