Tampa Bay Times' Scores

  • Movies
For 556 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 Young Adult
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 52 out of 556
556 movie reviews
  1. It is interesting even when nothing much happens, which is for most of its 3-hour running time.
  2. Hoop Dreams is what sportwriters would call "the total package:" intimate and illuminating in its depiction of two Chicago high-school basketball players and their goals, while never allowing an audience to forget that these boys and the families who support their struggles are part of the American fabric which hasn't received its due. [13Jan 1995, p.6]
    • Tampa Bay Times
  3. There has never been a movie like 12 Years a Slave, which is Hollywood's shame. Miss it, and that mistake is yours.
  4. Gravity is a game-changer like "Avatar" in the realm of digital 3-D special effects, inventing trickeries to be applied by future filmmakers and possibly never improved upon. Yet its spirit is closer to Avatar's smarter descendants, "Hugo" and "Life of Pi," with the gimmicks embellishing, not driving, the material. Less Cameron, more Kubrick.
  5. This is a remarkable film for more reasons than its antihero, from the cyberspeed wisdom of Aaron Sorkin's screenplay to Jeff Cronenweth's camera prowling the excesses of youthful genius gone wild.
  6. The last thing we see in Zero Dark Thirty is Maya's face and it is also ours, silently crying tears of reflection.
  7. It's a mystery wrapped inside an enigmatic nation, flawlessly acted and difficult to predict. I'm always impressed when a movie informs about a foreign culture while it entertains, and this one is powerful art in that regard.
  8. The movie at times resembles a screenwriting workshop, with Delpy and Hawke trying to shoehorn every shade of this shifting relationship into a single scene. It doesn't feel genuine; certainly these two would know each other better by now.
  9. With Amour, it's the rare feeling of watching a masterpiece unfold.
  10. The Coens fashion an atmospheric descent for Llewyn, a meticulous re-creation of Greenwich Village's folk scene in 1961, around the time Bob Dylan hit town.
  11. Toy Story 3 isn't merely the best movie of the summer -- even with summer just kicking in -- but an immediate candidate for best of the year.
  12. Plenty of secrets are uncovered before the fadeout, plus another nugget dropped midway through the end credits that may render nearly everything beforehand to be false. That's the nature of intimacies submerged so long then revealed.
  13. Lawrence is in every scene of Winter's Bone, leaving her plenty of opportunity to make false moves. I dare you to find one, in a performance to be remembered during awards season.
  14. Her
    So many things could go terribly wrong with Spike Jonze's Her, and it's a small cinematic miracle that nothing does.
  15. Russell and co-writer Eric Warren Singer lay out these deceits and double-crosses with precision but American Hustle isn't merely a procedural. Defining these outsized personalities, tracing their unconventional connections and affections, is where Russell's movie finds its irreverent heartbeat.
  16. Hazanavicius crafted more than a replica of the silent era; this feels like a time capsule found 80 years later, right on time to be revolutionary in a louder world. Yet The Artist is a masterwork that likely won't be imitated. How many movies in 2011 can you say that about? Only the best one.
  17. 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.
  18. Like Bertie's struggle, there's so much wonderment to articulate about this film that being mistaken for a stammering idiot is a risk. See it, then say it for yourself: The King's Speech is the best movie of 2010.
  19. The Grand Budapest Hotel is as artistically manicured as any of his seven previous movies, and richer comically and emotionally than most.
  20. 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
  21. Life Itself impressively covers the elements of Ebert's memoir.
  22. Chandor and Redford make an illuminating procedural of Our Man's response to calamity... Our Man is everyman, revealed by beautifully filmed and edited action without exposition.
  23. Considering Parts 1 and 2 of Deathly Hallows as a single enterprise, as they should be, this is a rare franchise that just kept getting better.
  24. Lincoln is like a thoroughly researched poli-sci term paper come to life, with interesting personal material about the participants relegated to footnotes.
  25. One of the year's best documentaries.
  26. Not much happens to Woody in Payne's movie, compared to modern penchants for rushed narratives and easily defined characters. Yet patience pays off, with a suitably minor triumph for such an unassuming man. And a major acting triumph for Dern.
  27. What makes Lisa Cholodenko's The Kids Are All Right remarkable also makes it a tad humdrum, which may be the filmmaker's point.
  28. The pointlessness of Jep's journey is Sorrentino's point, richly made.
  29. Argo works superbly on two levels, first as a white-knuckle re-enactment of events in Iran and scrambling strategies in Washington.
  30. This is a rapturous cinematic experience, a spellbinding expression of shrouded ideas and exposed talent, top to bottom.

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