Tampa Bay Times' Scores

  • Movies
For 916 reviews, this publication has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 4.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 12 Years a Slave
Lowest review score: 0 The Change-Up
Score distribution:
  1. Negative: 86 out of 916
916 movie reviews
  1. Any resemblance between Allied and a much better movie on the subject isn't coincidental but unfortunate.
  2. Cool Runnings is enormously unfaithful to its subject, piling on one sports cliche after another with shallow characterizations...Regardless of those faults, Cool Runnings has an agreeable goofiness to it that brushes aside any picky complaints. It isn't art, but it surely is disposable fun. [1 Oct 1993, p.6B]
    • Tampa Bay Times
  3. Rules Don't Apply is affably mediocre, even tolerable between brief pleasures. The movie's lone constant amusement is Beatty's madcap portrayal of Hughes, keeping aloft his Spruce Goose of nonromantic not quite comedy.
  4. The Beaver plays like a thickly veiled confessional and plea for forgiveness. It's too creepy for comfort.
  5. If you prefer hipster romantic comedies that are unromantic and not too funny, Lee Toland Krieger's movie may be your grande half-caf caramel mocha frappe.
  6. 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
    • 59 Metascore
    • 42 Critic Score
    Turns out we were right to wonder. The first film based on The Hobbit was charming fun, the second pretty good, too. But The Hobbit: The Battle of the Five Armies is a film too far, tedious and overlong and short on most of the elements that made the first two work.
  7. There might be a great movie about any of Hoover's triumphs and secrets, but not all at once.
  8. 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.
  9. 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.
  10. 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.
  11. Despite its overt feminism, Neighbors 2 makes the sorority unravel when its guiding man leaves. It's one of several mixed messages in the screenplay, possibly due to having five writers' fingerprints on it.
  12. 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.
  13. Fey and Poehler remain game throughout, mustering a bit of besties magic here and there. Sisters flips a tested formula to become the New Coke of comedy, looking familiar and bubbly on the surface, disposable before it's finished.
  14. 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.
  15. I honestly thought Eclipse would be different, after "New Moon" showed stirrings of cinematic life.
  16. 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.
  17. Malaise isn't Tom Hanks' thing, so A Hologram for the King with its death of an IT salesman vibe isn't a good fit. Hanks is far too indelible as a can-do personality to play why bother.
  18. Whatever raffish charm Reeves and Swayze exhibit is lost in the superficial gloss of Iliff's screenplay and Bigelow's direction. [12 July 1991, p.7]
    • Tampa Bay Times
  19. It's a story told accurately, if not particularly well.
  20. The Night Before isn't anything Harold, Kumar or Billy Bob Thornton didn't desecrate before and better.
  21. 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.
  22. The redneck rust bucket is on screen so much that 3-D glasses should come with tetanus shots.
  23. It's all art direction and no content. There's nothing for Morticia and Gomez to do. [22 Nov 1991, p.7]
    • Tampa Bay Times
  24. I spent several minutes not caring what was happening with the story but just observing the patchwork illusion of oversized props, short stunt doubles and computer grafting of big faces on small bodies. Nice work.
  25. Like a struggling sprinter, Stephen Hopkins' film suffers from wasted motion, too much going on. It's the difference between a merely competent movie and one justifying more discussion of Hollywood's commitment to reward diversity.
  26. 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.
  27. Date Night is really just another example of what happens when funny sitcom stars are lumped together in a movie, believing that laughter exponentially increases with screen size.
  28. 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.
  29. Comedy and narrative demand more rhythm than simply scamper, jabber, fall but that's what Minions bring to the table.

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