Tampa Bay Times' Scores

  • Movies
For 721 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 5.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 50/50
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 66 out of 721
721 movie reviews
  1. 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.
  2. 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
  3. McKay's frustration about the financial crisis is obvious, his instinct of how to engage viewers less so. Buyer beware.
    • 81 Metascore
    • 40 Critic Score
    Movies like Miss Daisy purport to be humanistic or aimed at a higher consciousness, but they're as self-righteous and silly as the one-dimensional characters they depict. [12 Jan. 1990, p.7]
    • Tampa Bay Times
  4. 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
  5. 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.
  6. At least the latest movie about the financial meltdown doesn't make the same mistake as the last one. It also doesn't prove that a fictional film can explain the downturn's causes and effects better than a documentary.
  7. Thankfully in space, no one can hear you yawn.
  8. 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.
  9. The strategy deserves to self-destruct in five seconds.
  10. Hail, Caesar! is maddeningly hit-and-miss.
  11. Shame smears the lines between daring and taunting, and art versus indulgence. When it ends there's the urge to take a shower, and not a cold one.
  12. 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.
  13. Imagine a stuffy Merchant Ivory production blended with muted Michael Crichton sci-fi and you have Never Let Me Go, at least as it plays on screen.
  14. Unstoppable isn't unwatchable, but it is a letdown after "Speed" and some of the Speed-on-a-(fill in the blank with a vehicle) flicks that followed. Forget missing Hopper; even Keanu Reeves might make this movie more entertaining.
  15. I expected, even wanted to cry at The Fault in Our Stars, or at least choke up a little. Yet the transparent eagerness of this movie to break hearts, through means not entirely justifying that end, always pulled me back.
  16. The problem isn't entirely Lehane's script... It's the way Belgian director Michael R. Roskam, making his English language debut, is so visually uninspired by all this meanness.
  17. Wright is an insanely funny filmmaker (Shaun of the Dead, Hot Fuzz) yet only the front half of that description carries over to Scott Pilgrim vs. the World.
  18. The Homesman isn't as confident with balancing madness and dark humor as Jones' only previous directing job, 2005's border odyssey The Three Burials of Melquiades Estrada. This movie's switchback plotting ambles from crisis to comical, threatening to maintain a tone but not for long.
  19. By all accounts, Boston mobster James "Whitey" Bulger was a monster. That's exactly how Johnny Depp plays him in Black Mass, a dark blob of underworld cliches and bad contact lenses.
  20. Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.
    • 68 Metascore
    • 60 Critic Score
    The Witches of Eastwick is a theme park without a theme. Like Nicholson and his co-stars, Miller doesn't have a lot on his mind. He just wants to have fun. His movie is organized mayhem, a strange and funny tour de force. [15 June 1987, p.1D]
    • Tampa Bay Times
  21. Soderbergh doesn't always match his pacing to Mallory's fury.
  22. This Cinderella is achingly old-fashioned, with scant humor, a regressive heroine and godmother effects that aren't special.
  23. Coppola's movie has a sense of indie vitality, although the energy feels wasted by running in place.
  24. Pawn Sacrifice tells a fascinating story in unspectacular fashion, resulting in a draw.
  25. Salt is a movie constantly painting itself into corners then tromping out with arbitrary twists and action distractions.
  26. The Rover fascinates and frustrates in equal measure, with Michod withholding details of plot and character so thoroughly that a nihilistic fog sets in.
  27. Fury reeks of self-importance, a strange arrogance for a fictional World War II drama drenched in more blood than ideas.
  28. Veronica Mars, the movie, plays like a two-parter without commercials. Its uninspired framing and static action suits a TV screen better than a multiplex's.

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