Time's Scores

For 2,176 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 MASH
Lowest review score: 0 The Women
Score distribution:
2176 movie reviews
    • 62 Metascore
    • 70 Critic Score
    Its heartwarming and clear-eyed approach to first love and the challenges of coming-of-age distinguishes it from its contemporaries.
  1. The two leads, Wu and Golding, are charming and genuine, and the supporting performers around them keep the whole mad story spinning—this thing is never boring.
  2. It’s simply a movie that makes you feel welcome.
  3. Statham is the real thing, and he’s key to the effectiveness of this good-natured and often highly ridiculous adaptation of Steve Alten’s 1997 sci-fi potboiler.
  4. The Miseducation of Cameron Post may not hit as hard as it should. But it at least suggests that the only real losers in life are those who presume to read God’s mind.
  5. The picture has a charming, low-key vibe that is, here and there, brushed with just a trace of adult melancholy. It’s good for kids, but maybe even better for adults who could use a little calming something.
  6. A well-meaning handspring of a movie that doesn’t necessarily land on its feet.
  7. Mission: Impossible—Fallout may be the best Mission: Impossible movie since the first, made in the dawn of the cat-Internet age, 1996, by Brian De Palma. Or perhaps it’s just the one with the mostest: even by the franchise’s extravagant standards, Fallout throws off Hope-diamond levels of grandeur.
  8. Blindspotting is entertaining, but it also packs an emotional punch. Sometimes, even the place you call home can make you feel like a ghost.
  9. Mamma Mia! Here We Go Again is terrible. And irresistible. How a movie that’s almost not even a movie can be both of those things at once is one of the mysteries of filmgoing, and one of its puckish pleasures.
  10. It’s all just Dwayne Johnson getting the job done. There ain’t no mountain, nor skyscraper, high enough for him.
  11. The most of-the-moment movie on the landscape right now — it may end up being the most politically and culturally relevant movie of the year. As a piece of filmmaking, it’s far from perfect.
  12. It has to be more of the same, but better, and the movie doesn’t quite succeed. You can’t really make a bigger, better Ant-Man — that just means defying the diminutive, carefree scale that made the earlier movie work in the first place.
  13. There’s no such thing as perfect love in families; often it’s the fine threads of tension that actually hold things together. Granik’s "Winter’s Bone" was greatly admired for the way it presented “ordinary people” of the Ozarks. But Leave No Trace is better.
  14. If you’re looking for a movie that speaks to the moment, a mindless action-thriller probably isn’t it.
  15. Perceptive, probing and ultimately devastating, The King is for anyone who cares about where this country has been and where it’s headed.
  16. Fallen Kingdom is so committed to thunderous spectacle that it fails to capture the poetry of these beasts in all their spiky, scaly, long-necked wonder. They deserve better.
  17. Movies don’t have to be bigger and bolder than we ourselves are. Haley’s films are things we can reach toward – there’s an intimacy and candor about them that feels welcoming.
  18. The new Superfly isn’t a great work of artistry or of cheap thrills — it’s so in between it’s practically bourgeois — but in the swagger department, it just squeaks by.
  19. If Incredibles 2 harbors a current of seriousness, what really makes it work is that it is so purely delightful.
  20. There’s some creepy, spooky stuff in Hereditary, images and ideas that just might surface in your nightmares. But the radical, undiluted humanness of Collette’s performance is the movie’s most haunting effect. There’s nothing supernatural about it. Call it the best humans can do without witchcraft.
  21. With a promising cast like that, not to mention the glittery party setting, Ocean’s 8 should be great fun. Instead, it’s a kind of noncommittal semi-fun.
  22. Dern’s mastery is so complete that it makes conversation about the actor’s skill or the awards she’ll likely win seem unworthy; her performance ignites the screen with increasing tension, stuffing a lifetime’s worth of repressed trauma into a moment.
  23. Leto is one of those movies that whisks us into a world that feels both familiar and fresh, like a sense memory of a life we might have lived if we’d been born in another decade or on another continent.
  24. If it’s hard to understand exactly what Godard is trying to say in this brief scrapbook scamper—it clocks in at one hour, 25 minutes—just watching it is a strange, melancholy pleasure, and an open window into the world of things that worry its creator.
  25. The film ends with a syrupy coda that betrays its earlier subtlety. But Ronan and Howle are the keepers of its true spirit.
  26. Star Wars lore is woefully lacking in sex appeal — even Han Solo is more of a guy’s guy — but Glover has an unruly, charismatic elegance. He belongs in a better movie, but at least he perks this one up.
  27. Part of the movie’s understated triumph lies in its casting: Hawke is an actor who clearly cares, and worries, a lot–the tree of life is practically etched into his forehead.
  28. Although 3 Faces is far from Panahi’s best work, it’s still a solid primer on how much a skilled filmmaker can achieve with very few resources.
  29. BlacKkKlansman is both hilarious and exquisitely direct, and had it been made before November 2016, you might call Lee’s approach a little alarmist. But if anything, he’s restrained. This is an angry film as well as a hugely entertaining one, and Lee has complete control over its shifting tone, minute by minute.

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