Tampa Bay Times' Scores

  • Movies
For 606 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 Top Five
Lowest review score: 0 The Last Airbender
Score distribution:
  1. Negative: 57 out of 606
606 movie reviews
  1. As Kay and Arnold lurch toward intimacy, the roles bring out a playful side seldom seen in Streep and practically never in Jones, his signature surliness melting into disarming smiles and tenderness.
  2. The Conjuring is a throwback to old-school spine tingling, although this movie is less Halloween theme ride and more 1970s post-"Exorcist" terror.
  3. It's a very good performance that isn't for the "Talladega Nights" crowd and indie audiences can appreciate that.
  4. The movie's memorable moments involve a silently expressive dodo bird and "man-panzee," stealing the show from human caricatures acting silly.
  5. Get Low is a pleasant yarn, well-acted and dutifully mounted with period designs. There isn't a false note among the actors.
  6. Except for slipping on a third-act soapbox, The Joneses is a deft allegory of the greed and coveting that led to the recession. At times, you wonder if something like this scam could really happen, or does.
  7. Even in strained moments, there is a sincerity to Dolphin Tale 2, an ambition to be more than an easy sequel, making it satisfying.
  8. Farewell is a solid telling of an obscure story and nothing more. The most effective scenes aren't cloak and dagger stuff but passages like Igor daydreaming of becoming a rock star like his idol Freddie Mercury of Queen.
  9. It's an audacious mashup that Baz Luhrmann would approve, lending freshness to Tolstoy's too-often-told tale.
  10. In the movie's best moments, Rivers is defiantly obnoxious and forthcoming about the fact that she'll do anything for money. At other times, the filmmakers attempt to make the wildcat warmer and fuzzier.
  11. This is first and foremost Murray's show, and the shortcomings in Melfi's script and direction are strangely appreciated. They give this singular comedian, who doesn't do it often enough these days, the room to let his buffalo heart roam.
  12. I'm not sure there's anything else to take away from this film besides Manville's performance and gratitude that we aren't these people.
  13. Nothing about Koolhoven's film is stunning, but it's a solid piece of work, occasionally feeling as tense as life-and-death situations with Nazis should be.
  14. This franchise that won't die began in 2001 as The Fast and the Furious and has pretty much run through every title permutation, so the inevitable next chapter might be called only "The & The 7."
  15. No
    The movie needs one or two central characters directly affected by the dictatorship, in order to create more tension around a conclusion that's already known.
  16. Efron makes hay with his richest role post-High School Musical, making Dean a rural rake with conflicting charisma.
  17. Thankfully, much of Red Tails is spent in the skies, where fighter planes swoop and zoom in thrilling dogfights with incendiary direct hits. Executive producer George Lucas apparently gave Hemingway the keys to his CGI kingdom, creating marvelously designed in-flight action and a sappy, snappy salute to the Tuskegee Airmen.
  18. Has something for everyone, if everyone is looking for young nuns taking showers, a department store Santa dealing weed, a coked-up infant crawling on the ceiling and Danny Trejo as the father-in-law-to-be from Hell. I didn't think I was looking for that but found it. And heaven help me, it wasn't bad.
  19. Robespierre does a nice job of balancing the seriousness of this situation with the no-boundaries irreverence of Donna's comedy background.
  20. What makes Lisa Cholodenko's The Kids Are All Right remarkable also makes it a tad humdrum, which may be the filmmaker's point.
  21. The performances are spot-on, with former Tampa resident Morgan Simpson scripting a showcase for himself as Jefferson, and Michael Clarke Duncan (The Green Mile) as the enigmatic stranger, proving again that he's more than just a not-so-pretty face atop an intimidating body.
  22. Honey, I Shrunk the Kids pulls some familiar plot - and emotional strings. It's a tad too predictable. But it's resourceful and well-crafted. It's the type of movie that works on one level for parents and another for kids. Both will be pleased. [23 June 1989, p.12]
    • Tampa Bay Times
  23. Carpenter returns to his roots, which is to say he's gouging eyes and summoning demons. He's doing it in a wonderfully rough-hewn, low-budget style that fondly recalls Halloween, the granddaddy of slasher movies. [24 Oct 1987, p.1D]
    • Tampa Bay Times
  24. It's rambunctiously amusing but the laughs clot in your throat. There's a meaner streak this time to Kick-Ass and Hit Girl's exploits, or maybe Carrey's sensitivity is justified. Either way, the third act of Kick-Ass 2 is a visceral beatdown.
  25. Anthony Hopkins, new to the franchise, is introduced in a prison cell, in stir-crazy shades of Hannibal Lecter. At 53, Catherine Zeta-Jones is nearly too young for this stuff.
  26. Steve Carell's character in Dinner for Schmucks is almost too pitiful for the jokes launched against him to be funny. It is a terrific performance making everyone else's condescension sound harsher than the writers likely intended.
  27. Iron Man 3 is missing that old Tony Stark spark. Not from Robert Downey Jr., who is still the best thing about this overblown show.
  28. When director Paul Feig — who revitalized feminine comedy with "Bridesmaids" — allows McCarthy's improvisational instincts to take over because, honestly, nobody else in the cast can stand up to her. McCarthy is the best thing about The Heat.
  29. Joyful Noise is a good movie when it lifts up its heart and lets people sing.
  30. Even as Touching Home finds those moments, it's easier to appreciate the stars' dedication to a grass roots project than the project itself.

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