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 The Lobster
Lowest review score: 0 For a Good Time, Call...
Score distribution:
  1. Negative: 81 out of 871
871 movie reviews
    • 61 Metascore
    • 60 Critic Score
    Finally though, it is Van Peebles who runs New Jack City aground. The film ends up being slightly long, both in terms of time and self-righteousness. Van Peebles is to be commended for making such a hip morality lesson, but New Jack City's finale, which is predictable and trite, could have been handled more creatively by a more daring director. [12 Mar 1991, p.1D]
    • Tampa Bay Times
    • 22 Metascore
    • 60 Critic Score
    Superman IV: The Quest for Peace doesn't attempt to disguise its sentiments - no more so than Greenpeace - but neither does it lose the campy spirit of the 1978 original. Although never as stylish as the first movie, it shows verve and a modest wit. Superman IV is not as funny as the first sequel, but it isn't as violent, either. [27 July 1987, p.1D]
    • Tampa Bay Times
  1. This is a fun picture, even if it's overly sentimental and has the feeling of an extended Amazing Stories segment. Director Dear is a master Spielbergian craftsman. Now, all he has to do is demonstrate some originality to establish himself as a quality film maker. [5 June 1987, p.1D]
    • Tampa Bay Times
    • 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
  2. The Rover fascinates and frustrates in equal measure, with Michod withholding details of plot and character so thoroughly that a nihilistic fog sets in.
  3. Kong: Skull Island strips the beauty from a legendary beast, reducing a classic movie star to soulless monster mechanics. Kong smashes, but not much else. Whoever dies doesn't matter. Whoever lives has a sequel promised by the end credits.
  4. 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.
  5. Real Steel is sci-fi without the science, and the fiction is strictly 20th century, straight out of Rocky knockoffs.
  6. Russell remains one of our most adorable, underused actors, although this role lacks the emotional and comedic breadth of her turn in 2007's "Waitress."
  7. 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.
  8. Chastain plows through this tangled scenario with an icy ferocity that's entertaining. You get the feeling that Miss Sloane would work better as a streaming or cable series, allowing more time to explore characters and issues, giving actors more room for dense dialogue. Maybe come up with a better way out of that corner.
  9. Winter's War isn't tedious. Amiably bad movies seldom are. Theron and Blunt look fabulous doing silly, screechy things in Colleen Atwood's costumes. Chastain makes Sara a formidable match in battle and bed with Eric, who becomes less important as these wonder women converge.
  10. There's no disputing Streep's brilliance, which this time feels more calculated than usual, in a movie demanding only an impersonation.
  11. 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.
  12. Joy
    Endings have never been Russell's strong suit. This time the beginning also eluded him, and the middle fell into his lap. Joy leaves a feeling of panicked disappointment, as if phone lines are open and nobody's calling.
  13. This is science fiction needing more work on the fiction part, an intriguing premise running its course halfway through. Passengers is too smart for starters to devolve into green screen spectacle relegating its attractive stars to unconvincing gapes.
  14. 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.
  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. 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.
  17. The actors are so good that you wish Collyer offered them a richer arc to play, rather than just a topic.
  18. 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.
  19. Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.
  20. The Farrellys whip up a miss-or-hit affair, the best jokes coming without much set-up, just non sequiturs and malapropisms.
    • 43 Metascore
    • 58 Critic Score
    This chiller has its predictable and unpredictable moments. As random, brutal murders on film go, Halloween 4 does do a creditable job of setting up the terrifying scene, only to have something unexpected happen. [28 Oct 1988, p.7]
    • Tampa Bay Times
  21. A nice but unnecessary movie for small children who can find the same level of entertainment on kiddie cable networks.
  22. 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.
  23. Broadbent carries the movie with signature ease, making Tony easy to dislike while wishing him an overdue peace. Despite its time-flip fixation, The Sense of an Ending finds emotional focus in Broadbent's wilting gaze and discoveries in character with the simplest line deliveries.
  24. There might be a great movie about any of Hoover's triumphs and secrets, but not all at once.
  25. Pig in the City is a blatant, heartless attempt to turn a surprise hit into a cash cow. That simply won't do, pig. [25 Nov 1998, p.1D]
    • Tampa Bay Times
  26. Thankfully in space, no one can hear you yawn.

Top Trailers