Tampa Bay Times' Scores

  • Movies
For 721 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 5.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 0 Little Fockers
Score distribution:
  1. Negative: 66 out of 721
721 movie reviews
    • 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. 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.
  4. Real Steel is sci-fi without the science, and the fiction is strictly 20th century, straight out of Rocky knockoffs.
  5. 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."
  6. 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.
  7. There's no disputing Streep's brilliance, which this time feels more calculated than usual, in a movie demanding only an impersonation.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. The actors are so good that you wish Collyer offered them a richer arc to play, rather than just a topic.
  14. 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.
  15. Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.
  16. 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
  17. A nice but unnecessary movie for small children who can find the same level of entertainment on kiddie cable networks.
  18. 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.
  19. There might be a great movie about any of Hoover's triumphs and secrets, but not all at once.
  20. Thankfully in space, no one can hear you yawn.
  21. Coppola's movie has a sense of indie vitality, although the energy feels wasted by running in place.
  22. If this movie truly cost $375 million to produce and market (as the L.A. Times reported), the biggest chunk isn't on the screen.
  23. Act of Valor will likely earn high praise from combat veterans and their families, the way movies like "Fireproof" and "Seven Days in Utopia" resonate with Christians. Civilians, movie critics and certainly pacifists won't be nearly as impressed.
  24. Director Robert Lorenz makes a nondescript debut, after assisting Eastwood on several of his directing gigs. The student hasn't learned much from the teacher about economic storytelling or deflecting schmaltz.
  25. Gimme Shelter exists less as a social lesson than as a wobbly showcase for Hudgens' still-developing skills.
  26. Our Brand Is Crisis shows flashes of insight cribbed from reality, nibbling the edges of satire without ever taking a big bite.
  27. In telling someone else's story Crowe loses track of his own as a cultural definer, not a panderer. Mee bought a zoo; Crowe sells out.

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