Tampa Bay Times' Scores

  • Movies
For 700 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Monsieur Lazhar
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 64 out of 700
700 movie reviews
  1. The 33 has a disappointing lack of depth for a movie about being trapped 2,400 feet below.
  2. Stylish to a fault and straying from the source, Guy Ritchie's The Man From U.N.C.L.E. revives a 1960s television hit for the short attention spans of today's youth-skewing movie audience.
  3. 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.
  4. Director Rupert Wyatt (Rise of the Planet of the Apes) doesn't match the feverish nature of Karel Reisz's original, and the gambling sequences convey the sameness of a habit but not as much tension to it.
  5. A drab dream with squirmy-cuddly aliens, floating space bubbles and too many Rihanna musical interludes.
  6. It feels like a rush job, needing another draft or two for cohesion's sake, or for Allen to decide what sort of story he's telling.
  7. Poor Thor. Dude can't even hold center stage in his own movie. He's the Asgardian god of stolen thunder, upstaged at each ab turn by Loki, malarkey and Odin's eyepatch.
  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. As an actor, Meryl Streep is incapable of making false moves. That doesn't mean she's incapable of making false movies.
  10. The first half is nothing but silly setups for a stretch run that admittedly has its moments of wacky pandemonium, just not enough.
  11. There's no disputing Streep's brilliance, which this time feels more calculated than usual, in a movie demanding only an impersonation.
  12. Sinister is basically a collection of bogus snuff films linked by standard haunted house tricks - everything creaking and slamming, with the power conveniently shut off.
  13. A distinct lack of merriment marks each frame of this film, with Scott determined to erase all fond memories of past Robin Hoods.
  14. If not for a few choice performance moments and a couple of peppy montages, Wanderlust would be cinematic compost, recycled and thoroughly smelly.
  15. The only bright spot in Tomorrow Never Dies is watching Chinese action star Michelle Yeoh eventually get a chance to grab a couple of machine guns and start rocking the house. She's a dynamo who has held her own alongside Jackie Chan, so it's disappointing that Spottiswoode doesn't find more opportunities to let her kick some tail. [19 Dec 1997, p.8]
    • Tampa Bay Times
  16. White House Down is nearly enough fun to be a bad movie that's a good time. But it always finds some way of being a drag, belching exposition and weak humor when action's all we need, then carrying the action to exhausting lengths.
  17. Paul Haggis is positive that withholding information while John makes "A Beautiful Mind" flow charts and deals with bad dudes will keep it interesting. Haggis is wrong.
  18. Hook is so enormous, so cumbersome, that it resembles a complex machine inching its way across the resplendent three-moon Neverland landscape. It's a brilliant technical achievement, but it hasn't much of a soul. [11 Dec. 1991, p.3D]
    • Tampa Bay Times
  19. Our Brand Is Crisis shows flashes of insight cribbed from reality, nibbling the edges of satire without ever taking a big bite.
  20. Mostly it's hamstrung by an abundance of reverence and dialogue sounding like an art studies syllabus when it isn't rehashing war movie tropes.
  21. It's all bathetic enough for Labor Day to be subtitled The Prisons of Madison County.
  22. The Intern is a movie outmoded in style and strangely retro-sexist in spirit.
  23. Like its heroine, The Age of Adaline is afraid of its emotions, and stuck flat-footed in time.
    • 51 Metascore
    • 40 Critic Score
    This movie misses its mark, never becoming the suburban satire promised on the poster. It doesn't offend, it bores. Most people, even diehard John Candy fans, will want to wait for the video release. It shouldn't be a very long wait at all. [18 Aug 1989, p.12]
    • Tampa Bay Times
  24. A Walk in the Woods is a trifle compared to 2014's Wild, which tracked a similar real-life journey toward self-discovery in richer detail. But darned if Redford's easy charm and Nolte's gravelly lack of it aren't enticing throughout.
  25. The Second Best Exotic Marigold Hotel is a downgrade from the first, doing lots of thing wrong that 2012's sleeper hit did right.
  26. Nothing to skip school over but at least it's not in 3-D. No sense in paying an extra ticket charge for something belonging on TV, anyway.
  27. 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.
  28. 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.
  29. The movie zings when Jenkins is snapping off venomous wisecracks, or O'Hara speaks politically incorrectly with only the best intentions. But those moments aren't enough to raise A.C.O.D. above the level of a failed pilot for a racy pay channel sitcom.

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