Tampa Bay Times' Scores

  • Movies
For 654 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 Argo
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 61 out of 654
654 movie reviews
  1. The redneck rust bucket is on screen so much that 3-D glasses should come with tetanus shots.
  2. It's a one-note character that Bardem builds into a complex emotional chord, lessening the urge to dismiss Biutiful solely as an endurance test for viewers.
  3. Vacation is a Gen X comedy franchise rebooted exactly how audiences can expect in 2015, bawdier and less likable than whatever classic inspires it.
  4. None of it is thrilling, but Prince of Persia: The Sands of Time has a Saturday matinee goofiness that'll go well enough with air conditioning.
  5. The pleasures of Lovelace are in its casting choices, allowing a brio trio like Sarsgaard, Hank Azaria and Bobby Cannavale to sleaze up a pivotal scene, and an unrecognizable Sharon Stone to go full Jessica Lange as Linda's shamed mother.
  6. Curled up at home with the lights off and DVD player running, Don't Be Afraid of the Dark might be passable fun. Spread over a movie screen, the film's modest ambition gets dwarfed by expectations, especially after paying for a ticket.
  7. Salt is a movie constantly painting itself into corners then tromping out with arbitrary twists and action distractions.
  8. Eastwood's unvarnished storytelling style, usually his strength as a filmmaker, is terribly out of place here. If ever a movie needed flashbacks, dream sequences, any attempt no matter how cliche to goose the narrative, it's this one.
  9. It's just an exhausted idea coasting on the charm of its stars.
  10. Ultimately, the movie's energy rises and falls on the presence of Adam Driver as Wallace's libido-on-legs friend, who can make you believe sex can solve anything. Except this movie.
  11. If anyone gets a career boost from The Expendables it will be Dolph Lundgren, playing a drug-addicted loose Howitzer booted from the team and flipping to the bad side.
  12. It is well acted bunk, led by Hugh Jackman's righteous raging as the father of a missing girl, abducting a suspect (Paul Dano) to pummel and scald a confession from him. If only solving the case and ending this movie sooner was that simple.
  13. Magic Mike XXL is darker, and between money-rain showers, duller. It's the movie many feared the original would be.
  14. A drab dream with squirmy-cuddly aliens, floating space bubbles and too many Rihanna musical interludes.
  15. Someone describes the T-800 as "nothing but a relic from a deleted timeline." Too harsh to lay on Schwarzenegger yet, but certainly it applies to the Terminator franchise.
  16. Cena handles rough stuff like a pro, and his poker-faced wisecracking isn't bad. But he probably shouldn't quit his day job.
  17. Closed Circuit is a shaggy paranoid thriller in which conversations aren't the shorthand of people who know each other but wordy exposition for those strangers in theater seats.
  18. The Beaver plays like a thickly veiled confessional and plea for forgiveness. It's too creepy for comfort.
  19. Kechiche's doting on entwined limbs, thrusting pelvises and oral stimulation, all carefully posed and continued longer than necessary to get his point across, races beyond titillation to creepy voyeurism.
  20. Close's performance is technically perfect and emotionally pinched, which is exactly what her role calls for, but it doesn't make a compelling movie.
  21. The only surprise is that Garry Marshall didn't direct this jumbled, star-studded kibitz and rename it "Mothers Day."
  22. Writer-director David E. Talbert, working from his novel, tackles each musical interlude, montage and mad dash to an airport like he's the first person ever to think of them.
  23. As a cinematic effort, Atlas Shrugged: Part I is competent; in service to Ayn Rand's epic novel, it's less so.
  24. Will Forte plays his pitifully deluded creation to the hilt in a penknife movie. There's a lot of material here that only occasionally succeeds on Forte's insanely focused performance.
  25. Brand is amusing, in a nutty "Get Him to the Greek" sort of way, while Moore delivered one of the funniest performances ever.
  26. What nags me about Battle Los Angeles is that Liebesman never realizes what he set up to happen after the fade-out.
  27. It's all bathetic enough for Labor Day to be subtitled The Prisons of Madison County.
  28. Dark Shadows manages in two hours what the TV show took six years to do: become irrelevant and remembered only for how sloppy it was.
  29. The fourth episode in a saga that didn't need a second, Age of Extinction, is 2 hours and 45 minutes of numbing dumb and dull end credits listing the artists cashing in. It is exactly what moviegoers who made this franchise thrive deserve.
  30. Ghost Rider: Spirit of Vengeance offers Cage plenty of opportunities to tap his inner circus geek, to twitch, cackle and flail without shame, going full tilt batwing crazy. Not since he danced in a pagan bear suit in The Wicker Man has Cage appeared this unconcerned about what the audience will think.

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