Tampa Bay Times' Scores

  • Movies
For 871 reviews, this publication has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 5.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Young Adult
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 81 out of 871
871 movie reviews
  1. JFK
    Stone's riveting three-hour movie freely mixes black and white and color documentary footage with pseudo-documentary and dramatic footage, so the line between real and fabrication is constantly blurred. [20 Dec 1991, p.7]
    • Tampa Bay Times
  2. The Farrellys affectionately structure their movie to resemble the Stooges' one-reelers from the 1930s, while the modern setting shows how timeless their rapid-fire puns, insults and pratfalls truly are. Silliness never goes out of style.
  3. Even with its flaws, Snowden is Stone's return to relevance, in subject and execution.
  4. Rise of the Guardians is an all-star addition to holiday movies lists but the real question is: Which holiday?
  5. Wolverine is a solid start to the ever-lengthening summer movie season, when all that matters is the bang and the bucks paid for it.
  6. Ponderous and perplexing, a somberly audacious film to make viewers swoon or snore, take your pick. It is defiantly opaque, a free-form meditation on nature and nurture across millennia with a tinge of biblical grace.
  7. The movie's erratic pleasures are like its ghosts; now you see them, now you don't.
  8. Christine is a movie as bleak and withdrawn as its protagonist, with Hall making the most of her best role in years, a slow death spiral that's hard to look away from.
  9. As far as sophisticated caper flicks go, Tower Heist is oceans away from George Clooney's crew. Compared to other recent comedies, it's pretty light on the laughs.
  10. Kind of like Lawless, a movie about bootleggers more violently authentic than previous takes on the subject, from "Thunder Road" to the first half of "The Last American Hero." What Lawless has over those moonshine melodramas is a striking sense of period and setting.
    • 73 Metascore
    • 75 Critic Score
    The film is able to overcome some of its narrative familiarity just by showcasing characters, locations and music we rarely see on screen. Having Monsoon Wedding director Mira Nair at the helm also brings a visual vibrancy and communal energy to the proceedings.
  11. Deepwater Horizon is a brawny hybrid of technical expertise and real-life tragedy, with neither quality getting shortchanged.
    • 76 Metascore
    • 75 Critic Score
    Most of the time the film slides along on funky music, lively dance and snappy street-style dialogue. Other teen comedies feature more hair-raising plots and spectacular stunts; other teen comedies are far more sexually explicit. House Party has a wistful, almost naive, air that runs counter to the broad-based perception of young blacks as hardened and hopeless, one step away from doing hard time. [9 Mar 1990, p.6]
    • Tampa Bay Times
  12. It's a crudely populist movie designed to rouse the rabble, to loudly remind us greed isn't good. Viewers seeking another "The Big Short" will leave shortchanged.
  13. What makes Central Intelligence appealing in appalling times is volcanic chemistry between Dwayne Johnson and Kevin Hart.
  14. The movie is mostly fun and ultimately disposable, which is a letdown after Pixar's previous greatness.
  15. Beautiful Creatures gives supernatural teenage romance a good name, or at least a better one than the entire "Twilight Saga" offered.
  16. An efficiently preposterous thriller.
    • 59 Metascore
    • 75 Critic Score
    There's a funny, healthy element of slapstick at play, as with all Bridget movies. A doctor played dryly by Emma Thompson is a biting, welcome addition.
  17. Finding Dory is a good sequel to a great film, and perhaps that's all fans could hope for.
  18. The Dark Knight Rises declares its importance with each scene but seldom backs up the claims. It is a climax more fitful than fulfilling, solemn to a fault and begging the Joker's question: "Why so serious?"
  19. Black's performance is the key to making The D-Train more than just another sophomoric bromance. The wild-eyed mania is still evident, but channeled through a filter of pity.
  20. Hotel Transylvania doesn't raise the bar for animation or comedy but it's fun, and nice for once to have a different reason to say "boo" after an Adam Sandler flick.
  21. Most of the time I was distracted by the superb photorealism of The Good Dinosaur's American Southwest backdrops, wondering how much money Disney would save by just filming the real thing.
  22. Unknown is finely tuned pulp filmmaking, a dumb movie with a smart veneer, which is nothing to sneeze at.
  23. Doesn't revolutionize the romantic comedy like "(500) Days of Summer," or even match the Farrellys or Judd Apatow for clever smut. But it is cheerful raunch delivered by a solid cast.
  24. The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.
  25. The reclamation project that Ben Affleck calls a career continues with The Town, his second directing effort that would impress more if the first try weren't so terrific and visually similar.
  26. It's a heady blend, at times requiring more speechifying than throwaway pop deserves. But it keeps one guessing between ill-staged and frenetically edited fight scenes. Directors Anthony and Joe Russo handle vehicular mayhem better.
  27. What lifts Equity above ordinary corporate melodrama is its staunchly feminine perspective, and not only in its lead character.

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