Time's Scores

For 2,029 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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Life During Wartime
Lowest review score: 0 Cocktail
Score distribution:
2029 movie reviews
  1. No matter how much money has been poured into a movie, it’s emotional generosity that matters, and Johnson gives without squandering. His great gift is that he knows when to stop.
  2. Mitchell — who was so marvelous as Eazy-E in the 2015 "Straight Outta Compton" — is superb here, as a young man struggling with what it means to be at home within his own heart, and within his country. Mudbound — tough and bittersweet and, in places, painfully brutal — is all about what it really means to be an American.
  3. Where to lay the blame for Justice League’s just OK-ness? The movie is a jumbo-sized blur — not terrible, just underwhelming even amid its desperation to impress us.
  4. Directed by the enormously talented New Zealand filmmaker Taika Waititi, it’s well intentioned but ultimately numbing, an instance of fun overkill whose ultimate goal seems to be to put us into a special-effects coma.
  5. Cavendish would become a lifelong advocate for the disabled, and the film’s tone is at times overly reverential. But the actors carry the story ably.
  6. Kids have no idea they’re feeling wonder — just feeling it is the thing. That’s the lightning in a bottle captured by director Sean Baker in The Florida Project.
  7. Even if Blade Runner 2049 never forgets where it came from, it somehow keeps losing its way. The picture’s moodiness is excessively manicured; this thing is gritty only in a premeditated way. Mostly, it feels like a capacious handbag, designed with perhaps too many extra compartments to hold every cool visual idea Villeneuve can dream up.
  8. If only every actor we loved could leave us with a farewell film like this one.
  9. Cruise plays Barry as an aw-shucks raconteur, and the routine is amusing at first. But midway through American Made, even Cruise devotees might decide enough is enough.
  10. The documentary is a riveting piece of work.
  11. The performances in Battle of the Sexes, agile and perceptive, keep the game alive every minute.
  12. It
    Director Andy Muschietti’s It, adapted from King’s disquieting 1986 epic of the same name, doesn’t cut very deep and isn’t very scary. At its best, it’s a sometimes-entertaining evocation of the way kids think and talk within their little cliques, and of the way they protect one another with fierce loyalty.
  13. George Clooney’s statement-making black comedy Suburbicon, playing in competition here at the Venice Film Festival, is a misfire on nearly all counts.
  14. School Life is a bit woolly in its pacing, but the picture’s easygoing structure is part of its charm—it mimics, perhaps, the passage of time at Headfort itself.
  15. Mother! is ambitious and dorky, like a Hieronymus Bosch painting redone as swirl-art. It’s entertaining to watch, because it’s not easy to see where it’s going—though you might feel a little underwhelmed when you discover where it ends up. The main reason to keep watching is Lawrence, receptive and radiant.
  16. There’s enough magic, and extraordinary visual imagination, to smooth the edges of the movie’s problems.
  17. Dickinson is superb at tracing that veiled anguish, and Hittman--who wrote and directed the 2013 film It Felt Like Love--is a discreet and sympathetic guide to his fractured world.
  18. People who love typewriters--you know who you are--shouldn't tap the space bar once, let alone twice, before rushing to see Doug Nichol's agile, deeply affectionate documentary California Typewriter. But anyone who loves machines, poetry or, better yet, the poetry of machines should see it too.
  19. Patti Cake$ motors along steadily on Macdonald's unsentimental charisma.
  20. Independently financed and distributed by Soderbergh, Logan Lucky is a magnificent movie that comes disguised as a modest one. Or, as I like to call it, a Joe Bang.
  21. Whose Streets? is rough around the edges, like a torn photograph whose borders have also been raggedly burned. But that's more a strength than a liability.
  22. Winterbottom is a gifted and extraordinarily versatile director. In the Trip projects, he may have found something of a meal ticket, but he still goes beyond the call of duty in making them cinematic.
  23. Realistically, it’s probably not possible to dance your cares away. But the determination of these girls makes you believe in it.
  24. Given how eagerly awaited this film has been, it’s safe to say that readers who love the series deserve a movie version made with more imagination, and less rote efficiency, than this one.
  25. A well-intentioned picture, it’s also a flawed one. This is filmmaking that sets out to make its points but fails, in big ways and small ones, to forge an emotional connection with most of its characters.
  26. Brigsby Bear is a sweet-natured picture with an undercurrent of prickly energy.
  27. Glowering from beneath the bangs of her moonbeam-platinum bob, Theron’s Broughton is equal parts air, light and iron. We’re just the moths clustering around her flame.
  28. The actors are all terrific.
  29. Girls Trip is just fun, a movie that—even within the context of its broad, exaggerated humor—never seems to be trying too hard.
  30. Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.

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