Tampa Bay Times' Scores

  • Movies
For 669 reviews, this publication has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% 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 Blackfish
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 63 out of 669
669 movie reviews
  1. Woo directs Mission: Impossible 2 cautiously, as if still introducing himself to U.S. audiences despite Face-Off and Broken Arrow. Or maybe he has nothing left to say about the poetry of violence after such visual eloquence in his Chinese classics. [24 May 2000, p.1D]
    • Tampa Bay Times
  2. Soderbergh doesn't always match his pacing to Mallory's fury.
  3. 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
  4. Identity Thief is a road movie with its creative lanes clogged, and a Mack truck comedian barreling through, anyway.
  5. Cumberbatch is very good, in a movie that isn't.
  6. Almodóvar dives into perversity, practically daring the audience not to follow. The Skin I Live In is a mediocre addition to his resume, yet for fans, even bad Almodóvar is better than none at all.
  7. Knight and Day never makes sense from the opening credits. Heck, the title is only half-explained, and not as cleverly as the pun deserves. It's a movie that never gestated beyond the pitch: Glamorous stars in exotic locales, shooting and driving their way to safety through a gantlet of bad guys chasing a MacGuffin.
  8. The strategy deserves to self-destruct in five seconds.
  9. Depp is the only reason this haphazard take on the Lone Ranger legend exists, at least in this swollen state, begging the question of why Disney didn't name the movie Tonto.
  10. It's a pleasing tribute to Steadman, but there's a sense that Paul would really prefer to focus on Thompson's brand of altered-state brilliance, which has been covered in documentaries before. If you're a gonzo completist, For No Good Reason is a must-see.
  11. It's Lane who's saddled with dragging this nag over the finish line, with her cliched portrayal of another single-minded woman beating men at their own game.
  12. Baruchel aside, The Sorcerer's Apprentice contains a few minor delights. One is Cage's surprisingly low-key approach to a role that he could be expected to play over the top.
  13. Wang's high regard for women is intact, plus a keen eye for period detail making the 19th century sequences lovely to observe. But it's nothing we haven't seen before.
  14. Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
  15. At least This Means War is an equal opportunity misfire, with as much appeal for men as women, compared to a one-sided weeper like "The Vow."
  16. The Homesman isn't as confident with balancing madness and dark humor as Jones' only previous directing job, 2005's border odyssey The Three Burials of Melquiades Estrada. This movie's switchback plotting ambles from crisis to comical, threatening to maintain a tone but not for long.
  17. The redneck rust bucket is on screen so much that 3-D glasses should come with tetanus shots.
  18. It's a one-note character that Bardem builds into a complex emotional chord, lessening the urge to dismiss Biutiful solely as an endurance test for viewers.
  19. Vacation is a Gen X comedy franchise rebooted exactly how audiences can expect in 2015, bawdier and less likable than whatever classic inspires it.
  20. None of it is thrilling, but Prince of Persia: The Sands of Time has a Saturday matinee goofiness that'll go well enough with air conditioning.
  21. The pleasures of Lovelace are in its casting choices, allowing a brio trio like Sarsgaard, Hank Azaria and Bobby Cannavale to sleaze up a pivotal scene, and an unrecognizable Sharon Stone to go full Jessica Lange as Linda's shamed mother.
  22. Curled up at home with the lights off and DVD player running, Don't Be Afraid of the Dark might be passable fun. Spread over a movie screen, the film's modest ambition gets dwarfed by expectations, especially after paying for a ticket.
  23. Salt is a movie constantly painting itself into corners then tromping out with arbitrary twists and action distractions.
  24. Eastwood's unvarnished storytelling style, usually his strength as a filmmaker, is terribly out of place here. If ever a movie needed flashbacks, dream sequences, any attempt no matter how cliche to goose the narrative, it's this one.
  25. It's just an exhausted idea coasting on the charm of its stars.
  26. Ultimately, the movie's energy rises and falls on the presence of Adam Driver as Wallace's libido-on-legs friend, who can make you believe sex can solve anything. Except this movie.
  27. If anyone gets a career boost from The Expendables it will be Dolph Lundgren, playing a drug-addicted loose Howitzer booted from the team and flipping to the bad side.
  28. It is well acted bunk, led by Hugh Jackman's righteous raging as the father of a missing girl, abducting a suspect (Paul Dano) to pummel and scald a confession from him. If only solving the case and ending this movie sooner was that simple.
  29. Magic Mike XXL is darker, and between money-rain showers, duller. It's the movie many feared the original would be.
  30. A drab dream with squirmy-cuddly aliens, floating space bubbles and too many Rihanna musical interludes.

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