Tampa Bay Times' Scores

  • Movies
For 632 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 Top Five
Lowest review score: 0 The Last Airbender
Score distribution:
  1. Negative: 59 out of 632
632 movie reviews
  1. The movie grabbed me and wouldn't let go during a bravura set piece at a soccer game when Campanella's camera glides into the stadium, finds Benjamin's face in the crowd and doesn't stop moving (with only a couple of edits) for six breathtaking minutes.
  2. Sounds depressing, but Blue Valentine is a reminder that well-measured and expertly acted pain is as thrilling to watch as 3-D spectacle.
  3. Top Five is the funniest movie I've seen this year, and the calendar's running out. No matter whose movie Rock's resembles, it is completely his, and a brash start to being taken seriously as an artist.
  4. Miller unravels this story with the grim inevitability of a death row vigil, but not without flashes of sly humor.
  5. No
    The movie needs one or two central characters directly affected by the dictatorship, in order to create more tension around a conclusion that's already known.
  6. The movie's assured direction by Sam Mendes can't be underestimated.
    • 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
  7. Allen eventually gets to the heart of this matter: the allure and danger of nostalgia.
  8. What "Shaun of the Dead" and "Hot Fuzz" did for zombie and cop flicks The World's End does for sci-fi fatalism, respecting its doomsday tropes while presenting them with cheeky wit and a refreshing strategy of sensory underload.
  9. Silver Linings Playbook is a bracing shaken cocktail of awkward failure and accidental success, with Pat and Tiffany making a refreshing and unlikely couple to root for. We just want them to be abnormal together, share their favorite antidepressants, maybe even dance to Stevie Wonder.
  10. Nobody can disagree that Waiting for Superman deals with a subject demanding attention. But it paints the engulfing problems of U.S. education with a brush too broad and samples too small to be definitive.
  11. By the time Melancholia finally crawls to its conclusion, his (von Trier) round orb in the sky isn't as depressing as the rectangular screen.
  12. The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.
  13. True Grit is a very good movie that might be more embraceable if we didn't know who was pulling the trigger.
  14. I'm not sure there's anything else to take away from this film besides Manville's performance and gratitude that we aren't these people.
  15. Thanks to Jackson's involvement as a producer, Berg has time and access Berlinger and Sinofsky didn't, allowing expansion of whatever material that's repeated.
  16. The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.
  17. In the movie's best moments, Rivers is defiantly obnoxious and forthcoming about the fact that she'll do anything for money. At other times, the filmmakers attempt to make the wildcat warmer and fuzzier.
  18. A Most Violent Year has its share of wham-bam moments — a car-truck-foot chase into the city's bowels is superb — but the action never speaks louder than Chandor's hard-boiled words.
  19. Gone Girl is a terrific movie, everything the book and its fans deserve.
  20. A boxing movie swinging in too many directions at once, as if someone sneaked a third clubber into the ring. All the emotional punches land solidly, to occasionally devastating effect, but at the conclusion you're not sure which competing cliche wins.
  21. For those viewers who've watched Stewart's recent progression in offbeat films like Camp X-Ray and Still Alice — when she held her own opposite Academy Award winner Julianne Moore — it shouldn't be a surprise. Clouds of Sils Maria matches Stewart with another Oscar honoree, Juliette Binoche, with equally impressive results.
  22. Herbert's tale is twisted into a barely recognizable rush of pretentions made entertaining by Jodorowsky's glee in describing them. At age 85 he remains a madman with immense personality, a pinhole visionary insisting his Dune would be a prophecy shaping generations. Jodorowsky's Dune makes a viewer wish he'd gotten the chance.
  23. Yet for all of the technological genius at work here, Dawn of the Planet of the Apes maintains a remarkably human core, even under digital makeup.
  24. Too often, the movie relies on the contrived situations endemic to gangster movies, rather than explore new routes to tell the story. Yet, there is an undeniable visual power that places The Untouchables in the class of The Godfather and Once Upon a Time in America. [3 June 1987, p.1D]
    • Tampa Bay Times
  25. Never has 3-D illusion been used to such pure storytelling effect.
  26. This is how a romantic vampire flick should work.
  27. Black Swan is a stage door melodrama putting new spins on cliches as old as "All About Eve" (and maybe Adam). Setting them among ballerinas as opposed to showgirls or movie stars doesn't make them any less familiar.
  28. Buckle up for a bumpy ride but one that a road warrior like McQueen would hitch in a heartbeat.
  29. The role of Albert in Nicole Holofcener's Enough Said is closer to who the man was, and who the actor seldom got the chance to play: bearish yet soft-spoken, a self-confessed slob with a soul bigger than his gut. There's warmth pouring from those slitted eyes, loosening up guarded smiles as Albert takes a chance on love again.

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