Tampa Bay Times' Scores

  • Movies
For 644 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 6 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: 60 out of 644
644 movie reviews
  1. The Beaver plays like a thickly veiled confessional and plea for forgiveness. It's too creepy for comfort.
  2. Kechiche's doting on entwined limbs, thrusting pelvises and oral stimulation, all carefully posed and continued longer than necessary to get his point across, races beyond titillation to creepy voyeurism.
  3. Close's performance is technically perfect and emotionally pinched, which is exactly what her role calls for, but it doesn't make a compelling movie.
  4. The only surprise is that Garry Marshall didn't direct this jumbled, star-studded kibitz and rename it "Mothers Day."
  5. Writer-director David E. Talbert, working from his novel, tackles each musical interlude, montage and mad dash to an airport like he's the first person ever to think of them.
  6. As a cinematic effort, Atlas Shrugged: Part I is competent; in service to Ayn Rand's epic novel, it's less so.
  7. Will Forte plays his pitifully deluded creation to the hilt in a penknife movie. There's a lot of material here that only occasionally succeeds on Forte's insanely focused performance.
  8. Brand is amusing, in a nutty "Get Him to the Greek" sort of way, while Moore delivered one of the funniest performances ever.
  9. What nags me about Battle Los Angeles is that Liebesman never realizes what he set up to happen after the fade-out.
  10. It's all bathetic enough for Labor Day to be subtitled The Prisons of Madison County.
  11. Dark Shadows manages in two hours what the TV show took six years to do: become irrelevant and remembered only for how sloppy it was.
  12. The fourth episode in a saga that didn't need a second, Age of Extinction, is 2 hours and 45 minutes of numbing dumb and dull end credits listing the artists cashing in. It is exactly what moviegoers who made this franchise thrive deserve.
  13. Ghost Rider: Spirit of Vengeance offers Cage plenty of opportunities to tap his inner circus geek, to twitch, cackle and flail without shame, going full tilt batwing crazy. Not since he danced in a pagan bear suit in The Wicker Man has Cage appeared this unconcerned about what the audience will think.
  14. Basic Instinct has the action and gore of Verhoeven's Total Recall and the cool sheen of his equally bloody RoboCop. Verhoeven can deliver style in spades, but Eszterhas' jumble of confusing plot twists and conventional movie cliches proves fatal. [20 Mar 1992, p.29]
    • Tampa Bay Times
  15. There are too many convenient romances, trumped-up crises and reversals of conscience to clear up while those poor whales suffer. Big Miracle isn't an entirely bad movie but a wholly misguided one.
  16. Conan the Barbarian has its small, insipid pleasures, if you're in the mood.
  17. Wright is an insanely funny filmmaker (Shaun of the Dead, Hot Fuzz) yet only the front half of that description carries over to Scott Pilgrim vs. the World.
  18. Hereafter doesn't feel like a Clint Eastwood film; it's more like a very special edition of John Edward's psychic TV show.
  19. Without previous knowledge of Andy Diggle's comics, The Losers looks like every other globetrotting gunpowder flick in which good guy bullets never miss and bad guy bullets never hit their targets.
  20. Like its heroine, The Age of Adaline is afraid of its emotions, and stuck flat-footed in time.
  21. That first movie was obviously a calculated grab for Harry Potter-type movie success but didn't feel like a rip-off. This one skews younger, to an easier-to-please demographic, closely resembling other fantasies since.
  22. It's all harmless, if not entirely fun.
  23. Whatever laughter Lottery Ticket earns is through familiarity with these exaggerated characters, and actors going the extra mile to make viewers believe they haven't seen this material before.
  24. Entourage the movie operates like Vince's pals, making itself feel important solely through who's famous nearby.
  25. Apatow hates leaving anything on the cutting room floor. You could excise entire chunks of The Five-Year Engagement - the donut experiments at college, a couple of wise soliloquies, most of the stuff involving Violet's sister (Alison Brie) - and never miss a beat.
  26. This is such a generic endeavor — not a poor effort, just one that doesn't attempt to do anything besides splash a screen with color and movement.
  27. Go see Won't Back Down and enjoy it. Just don't believe it's anything more than a stacked deck with a lot at stake.
  28. Some ideas simply work better on book pages, rather than on film where illogic is exposed.
  29. Transcendence is a movie without villains, thrills or, after Nolan fanboys show up, much of an audience.
  30. The movie's only constant pleasure - heck, the whole franchise's - is Eugene Levy as Jim's dad, widowed and wondering if it's time to date again.

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