Tampa Bay Times' Scores

  • Movies
For 701 reviews, this publication has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 5.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Midnight in Paris
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 65 out of 701
701 movie reviews
  1. A nice but unnecessary movie for small children who can find the same level of entertainment on kiddie cable networks.
  2. Calvary becomes a lurid Agatha Christie yarn with something important to say about the church and Ireland that McDonagh can't fully articulate. Pulp keeps getting in the way.
  3. There might be a great movie about any of Hoover's triumphs and secrets, but not all at once.
  4. Thankfully in space, no one can hear you yawn.
  5. Coppola's movie has a sense of indie vitality, although the energy feels wasted by running in place.
  6. If this movie truly cost $375 million to produce and market (as the L.A. Times reported), the biggest chunk isn't on the screen.
  7. Act of Valor will likely earn high praise from combat veterans and their families, the way movies like "Fireproof" and "Seven Days in Utopia" resonate with Christians. Civilians, movie critics and certainly pacifists won't be nearly as impressed.
  8. Director Robert Lorenz makes a nondescript debut, after assisting Eastwood on several of his directing gigs. The student hasn't learned much from the teacher about economic storytelling or deflecting schmaltz.
  9. Gimme Shelter exists less as a social lesson than as a wobbly showcase for Hudgens' still-developing skills.
  10. Our Brand Is Crisis shows flashes of insight cribbed from reality, nibbling the edges of satire without ever taking a big bite.
  11. In telling someone else's story Crowe loses track of his own as a cultural definer, not a panderer. Mee bought a zoo; Crowe sells out.
  12. This Cinderella is achingly old-fashioned, with scant humor, a regressive heroine and godmother effects that aren't special.
  13. Spike Lee's remake of 2003's Oldboy is as brutally perplexing as the South Korean original, and needless for both its repetition and tweaks. Nothing is really lost in translation, or gained.
  14. The reason this overstuffed movie remains tolerable is the inspired casting of Robert Duvall and Robert Downey Jr. as a combative father and son, and their determination to out-thespian each other.
  15. Woo directs Mission: Impossible 2 cautiously, as if still introducing himself to U.S. audiences despite Face-Off and Broken Arrow. Or maybe he has nothing left to say about the poetry of violence after such visual eloquence in his Chinese classics. [24 May 2000, p.1D]
    • Tampa Bay Times
  16. Soderbergh doesn't always match his pacing to Mallory's fury.
  17. Leigh's characters merely act in a goofy and irritating fashion until their dramatic pay-off scenes. This uneven style cheats fine actors out of the chance to shade their roles rather than rely upon black-and-white emotions. [6 Mar. 1992, p.10]
    • Tampa Bay Times
  18. Identity Thief is a road movie with its creative lanes clogged, and a Mack truck comedian barreling through, anyway.
  19. Cumberbatch is very good, in a movie that isn't.
  20. Almodóvar dives into perversity, practically daring the audience not to follow. The Skin I Live In is a mediocre addition to his resume, yet for fans, even bad Almodóvar is better than none at all.
  21. Knight and Day never makes sense from the opening credits. Heck, the title is only half-explained, and not as cleverly as the pun deserves. It's a movie that never gestated beyond the pitch: Glamorous stars in exotic locales, shooting and driving their way to safety through a gantlet of bad guys chasing a MacGuffin.
  22. The strategy deserves to self-destruct in five seconds.
  23. Depp is the only reason this haphazard take on the Lone Ranger legend exists, at least in this swollen state, begging the question of why Disney didn't name the movie Tonto.
  24. It's a pleasing tribute to Steadman, but there's a sense that Paul would really prefer to focus on Thompson's brand of altered-state brilliance, which has been covered in documentaries before. If you're a gonzo completist, For No Good Reason is a must-see.
  25. The 33 has a disappointing lack of depth for a movie about being trapped 2,400 feet below.
  26. It's Lane who's saddled with dragging this nag over the finish line, with her cliched portrayal of another single-minded woman beating men at their own game.
  27. Baruchel aside, The Sorcerer's Apprentice contains a few minor delights. One is Cage's surprisingly low-key approach to a role that he could be expected to play over the top.
  28. Wang's high regard for women is intact, plus a keen eye for period detail making the 19th century sequences lovely to observe. But it's nothing we haven't seen before.
  29. Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
  30. At least This Means War is an equal opportunity misfire, with as much appeal for men as women, compared to a one-sided weeper like "The Vow."

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