Tampa Bay Times' Scores

  • Movies
For 635 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The World's End
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 60 out of 635
635 movie reviews
  1. Unlike many post 9/11 war movies, American Sniper goes easier on the gung ho, with a third act leavened by Chris' depressed denial, his "hurt locker" of stored regret. Eastwood is less concerned with action heroism than the consequences of deadly action, how it chips away at the living.
  2. Even when Magic Mike is skimpier than a g-string it soars on daring, as if Soderbergh asked himself who could possibly make a good movie from such offbeat material, answered "I can," and did.
  3. The Cabin in the Woods isn't merely another "Scream" exercise in self-awareness, or a "Scary Movie" spoof of the same. It's a wickedly smart hybrid mutation, biting the severed hand feeding the genre.
  4. JFK
    Stone's riveting three-hour movie freely mixes black and white and color documentary footage with pseudo-documentary and dramatic footage, so the line between real and fabrication is constantly blurred. [20 Dec 1991, p.7]
    • Tampa Bay Times
  5. The movie's erratic pleasures are like its ghosts; now you see them, now you don't.
  6. Yes, this one is even better: funnier, brawnier and ingeniously constructed for appeal to both devoted fans and reluctant converts.
  7. It's irreverent about cancer and that could be inspirational. And it's surely one of the most enjoyable movies I've seen all year.
  8. A movie of here-and-now thrills, goosed by judicious CGI effects that never overpower the humanity of the situation.
  9. War Horse takes time reaching its full emotional gallop with a late sequence combining man, beast and barbed wire. Yet it remains a technically magnificent ride throughout, and a checklist of visual influences from "All Quiet on the Western Front" to "Gone with the Wind."
  10. Screenwriter Bert V. Royal takes the oldest adolescence hook in the book - losing one's virginity- and turns it inside out.
  11. The movie's first half is its funniest, as Moore sets up this alternate low-resolution universe.
  12. Shame smears the lines between daring and taunting, and art versus indulgence. When it ends there's the urge to take a shower, and not a cold one.
  13. Well-acted and lovingly designed, Marsh's movie falls far short of the genius it attempts to celebrate.
  14. For all of its movie-of-the-week mechanics, this is a deeply moving dramatization of what Alzheimer's does to mind and spirit, anchored by the finest performance, male or female, from any 2014 movie release.
  15. Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise.
  16. Like the genre's top filmmakers - the Coens, Polanski, Hitchcock - Capotondi builds dread with wicked winks at the audience, dropping subtle surprises along the way.
  17. It's a familiar, straightforward story, carried from start to finish by Winstead, who makes Kate an interesting study in contradictions.
  18. 22 Jump Street is a mixed bag of clever spoofery and miscalculated outrageousness. The unveiled homoeroticism of practically all interaction between Jenko and Schmidt is amusing to the point when it isn't.
  19. Tangled would be a satisfying adventure on plot and 3D sensations alone.
  20. Edge of Tomorrow may be the best video game movie ever made. Which is strange since it isn't actually based on a video game.
  21. It's the most unsettling nice surprise of 2011.
  22. In any language with anyone at the helm, Lisbeth is still a killer.
  23. Warrior is a surprising gut punch, a modern-day "Rocky" saga with two mixed martial arts pugs trying to beat, choke and kick the system.
  24. The movie is as quietly assured as its heroine, Bathsheba Everdene, gracefully played by Carey Mulligan.
  25. I've watched Sleepwalk With Me twice now, each time impressed with Birbiglia's confidence in revealing so much about his craft and himself, and the freely associated style with which he does it.
  26. Taylor's movie is overly episodic, but a number of those episodes are marvelous.
  27. It's a heady blend, at times requiring more speechifying than throwaway pop deserves. But it keeps one guessing between ill-staged and frenetically edited fight scenes. Directors Anthony and Joe Russo handle vehicular mayhem better.
  28. 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.
  29. This movie embraces its inner yokel.
  30. Imagine a stuffy Merchant Ivory production blended with muted Michael Crichton sci-fi and you have Never Let Me Go, at least as it plays on screen.

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