Tampa Bay Times' Scores

  • Movies
For 957 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 300
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 90 out of 957
957 movie reviews
  1. The Grand Budapest Hotel is as artistically manicured as any of his seven previous movies, and richer comically and emotionally than most.
  2. Like Bertie's struggle, there's so much wonderment to articulate about this film that being mistaken for a stammering idiot is a risk. See it, then say it for yourself: The King's Speech is the best movie of 2010.
  3. Hell or High Water is a terrific piece of entertainment.... It isn't a highbrow indie but a gritty work of art. Mackenzie's movie thrills for all the right reasons and will be fondly remembered at year's end.
  4. Anomalisa ends with a major decision and a minor triumph, the result of a one-night stand in Cincinnati. Sad, desperate? Maybe. But in the hands of Kaufman and Johnson, an extraordinary movie.
  5. Everything about Birdman is a bold cinematic stretch, from its snare-jazz soundtrack to a climax regrettably stretched too far. The line between Iñárritu's genius and Riggan's madness gets crossed once too many, but no matter. Birdman has 99 virtues and ignorance isn't one.
  6. Ronan is Brooklyn's linchpin, and its saving grace.
  7. Chandor and Redford make an illuminating procedural of Our Man's response to calamity... Our Man is everyman, revealed by beautifully filmed and edited action without exposition.
  8. Considering Parts 1 and 2 of Deathly Hallows as a single enterprise, as they should be, this is a rare franchise that just kept getting better.
  9. Life Itself impressively covers the elements of Ebert's memoir.
  10. Lincoln is like a thoroughly researched poli-sci term paper come to life, with interesting personal material about the participants relegated to footnotes.
  11. One of the year's best documentaries.
  12. Room is a startling movie experience, peculiar in setting and profoundly simple. It's a story of love born out of unseen horror, of nurture conquering nature. Room must be felt to be believed.
  13. Not much happens to Woody in Payne's movie, compared to modern penchants for rushed narratives and easily defined characters. Yet patience pays off, with a suitably minor triumph for such an unassuming man. And a major acting triumph for Dern.
  14. What makes Lisa Cholodenko's The Kids Are All Right remarkable also makes it a tad humdrum, which may be the filmmaker's point.
  15. The pointlessness of Jep's journey is Sorrentino's point, richly made.
  16. This movie doesn't play any of its themes cheaply.
  17. Argo works superbly on two levels, first as a white-knuckle re-enactment of events in Iran and scrambling strategies in Washington.
  18. This is a rapturous cinematic experience, a spellbinding expression of shrouded ideas and exposed talent, top to bottom.
  19. Style is the substance of Edgar Wright's inventive heist flick, a fresh, masterful synching of music and getaway mayhem, as if La La Land's traffic jam was moving, armed and dangerous.
  20. Hushpuppy carries a lot of emotional weight on her slender shoulders, and Wallis makes one wish to climb into the screen to lighten the load with an embrace. Do not miss this performance, or this quietly astonishing, life-affirming masterpiece.
  21. Shannon is perfectly cast, a creepily magnetic actor with an otherworldly calm, tight jaw and piercing, set-apart eyes. The performance and movie stick with you, with masterful construction and muted psychological horror.
  22. Amy
    In some moments, Amy feels like another intrusion on the singer's privacy, like the gossip vultures circling her drug and alcohol binges, awaiting her 2011 death. Those uncomfortable moments are far outweighed by sympathetic ones.
  23. Tinker, Tailor, Soldier, Spy is boldly dull in protest to modern movie tastes, and that alone may earn it more praise than it deserves.
  24. With The Past, Farhadi again displays a gift for poking into corners of nondescript lives and discovering unique drama.
  25. Ponderous and perplexing, a somberly audacious film to make viewers swoon or snore, take your pick. It is defiantly opaque, a free-form meditation on nature and nurture across millennia with a tinge of biblical grace.
  26. Restrepo is about soldiers, not politics. The question of whether U.S. troops belong there isn't posed. Their devotion to duty and each other is unquestioned.
  27. A movie as direct and devastating as a point-blank bullet to the back, like the one that killed Oscar Grant on the first morning of a new year, 2009.
  28. These characters don't realize they're funny, and the actors are determined not to push it. Willis fares best, playing against in-control type; Murray fans expecting a comedy explosion won't find it here.
  29. Johnson keeps it simple, yet never stupid. Looper is a puzzle engaging your brain, rather than frying it, as one character describes the process. Obviously he has seen enough movies on the subject by 2024 to know how frustrating that is. This one plays fair with the fantasy.
  30. The Descendants would still be a splendid movie without him; with Clooney, it's one of 2011's very best.

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