Time's Scores

For 1,796 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 The Last Airbender
Score distribution:
1796 movie reviews
  1. The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
  2. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
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  3. Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
  4. Their sweet, determined, gently understated struggle for fulfillment in a superstitiously conservative society makes this densely, deftly packed movie a quiet joy to behold.
    • 82 Metascore
    • 90 Critic Score
    What happens is not the substance of Manhattan as much as how it happens. The movie is full of moments that are uproariously funny and others that are sometimes shattering for the degree in which they evoke civilized desolation.
  5. Beautiful Girls is always in touch with reality but never drowned in it. [19 February 1996, p.64]
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  6. It is vigorous, subtle, thematically daring, visually gorgeous.
  7. [Salles]'s imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting.
  8. One thinks of the great opening line of that great novel The Good Soldier: "This is the saddest story I have ever heard." Like many such tales, this one is worth taking to your aching heart.
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  9. Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
  10. Everybody Wants Some!! is a seemingly straightforward picture that’s surprisingly stealthy in capturing the joy and exaltation of being an almost-adult but still feeling young, of messing around and messing up, of waiting and hoping for the chance to meet a guy or girl you really like.
  11. Can a movie have too much good stuff? Not when it's stuffed like this one.
  12. An exhilarating two hours of serious fun.
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  13. Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.
  14. The Trip may have familiar elements - it's pretty much "My Dinner With Andre" pinned to the plot of Alexander Payne's "Sideways" - but the badinage provides an immediate and lasting kick, as well as the spectacle of two champion combatants at the top of their game.
  15. The movie is ridiculously over the top, inelegant and so defiantly ?crazy?that it works, reminding you how fun gore and creatures that go bump ?(and? grind) in the night can be. It's a sci-fi horror film, but no actual ?comedy?has made me laugh as much this year as Splice.?
  16. A performance like De Niro's, in a well-made entertainment like Midnight Run, is cheap at any price. And capable of restoring the audience's faith in the form. [25 July 1988]
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  17. Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
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  18. Not since "This is Spinal Tap" have I had such a good time watching amiable idiocy stumble on toward uncertain glory.
  19. In its soft-spoken way, it is fierce, shaggy and deeply weirded out.
  20. Both horrifying and hopeful.
  21. A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
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  22. Droll, reticent, flawlessly filmed fable of generosity.
  23. This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
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  24. Indeed, you could argue that Tell No One is a variant on one of Hitchcock's favorite themes: the running man whose story no one (except us in the audience) believes. These fictions, of course, depend for their success on the French respect for rationalism (and their horror when reason is torn asunder by criminal irrationality).
  25. Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.
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    • 89 Metascore
    • 90 Critic Score
    Terse is the word for Eastwood's directorial style. It rarely editorializes; it doesn't emote or orate. It just tells the damn story of a soldier's honor, which means doing the job no matter the odds--indeed, no matter the mission.
  26. If The Hobbit doesn't equal the achievement of Jackson's earlier Middle-earth movies -- and, honestly, what could? -- it is still, in sum, a thrilling effort.
  27. McKay approaches this adaptation of Michael Lewis’ book with wit, energy and a surprising degree of clarity. But if the movie is a crackerjack entertainment, it’s one with a conscience.
  28. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
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  29. Plenty of tech-noir savvy to keep infidels and action fans satisfied.[26 Nov 1984, p. 105]
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  30. We are free to adore a sad, funny, always good-natured film that eccentrically, tolerantly explores that moment when revolutionary ardor commingled with bourgeois stolidity to form our present weirdly ambiguous culture.
  31. Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]
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  32. What is startling is how well While You Were Sleeping recaptures the true spirit of the best kind of modern fairy tale -- classic romantic comedy.
  33. They bring their characters to good, slightly surprising, quite satisfying places. And leave us beaming happily.
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  34. A gross-your-eyes-out horror movie that is also the year's most poignant romance.
    • 87 Metascore
    • 90 Critic Score
    The result – believable, hopeful, tender, delightful – is a movie of (increasingly rare) truly indie sensibility, made by women who are confident about healthy feminine resilience.
  35. But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
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  36. Intellectually austere but technologically and aesthetically riveting documentary.
  37. A movie that demands our surrender -- to its energy, to its bold-stroke moviemaking, to its acting (particularly by Cruise and Watanabe, who blend musing and graceful muscularity) and, above all, to its romantic vision of a lost world.
  38. Bravely and with penetrating intelligence, Before Midnight elevates instead the practical, a partnership: frayed by disappointment, worn by time, but for the very luckiest—which we sincerely and selfishly hope includes Jesse and Celine—durable for the long day’s journey into night.
  39. The devastating truth of 45 Years, so beautifully wrought, is that even the most devoted couples are made up of two people who are essentially alone.
  40. A careful, finally powerful film.
  41. The next time you hear a director complain about the studio or his stars or the weather or whatever, think of what Jorgen Leth achieved with Lars von Trier as his boss -- when five obstructions became five splendid opportunities.
  42. No film with an ambition this large, and achievement this impressive, can be anything but exhilarating, a vital affirmation of the creative process.
  43. It is indeed impressive; and we mean not just this solid, satisfying final film - in which the Potter saga reaches its climax, if not quite its emotional apex - but the entirety of producer David Heyman's blockbuster franchise.
    • 91 Metascore
    • 90 Critic Score
    What lifts this film into orbit—and what saves it from being a shaggy flying-saucer story—is the breathless wonder that the director brings to every frame. Whether he is showing us a pristine, starry Midwestern sky or displaying Special Effects Wizard Douglas Trumbull's formidable arsenal of spaceships and celestial storms, Spielberg seems to be looking at everything onscreen as if for the first time. The freshness of his vision is contagious—and exhilarating.
  44. Its business is to turn sure-thing expectations into a game of chance, and provide us with that rarity--a genuinely eccentric yet deeply insinuating film.
  45. His performance is a canny portrait of leadership - part genius, part crazy guts, part dumb luck - and worthy of moving Pitt up to the playoff round of Oscar finalists for Best Actor. We'd put money on it.
  46. Rich in humor, pained or frolicking.
  47. An easy charm, a cleverly unforced sense of humor and a benignity toward all its genially oddball characters. If moviegoers skip this one, they'll be missing a real treat.
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  48. JFK
    Through his art and passion, Stone makes JFK plausible, and turns his thesis of a coup d'etat into fodder for renewed debate.
  49. But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
  50. Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]
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  51. Miss Bala is a tragedy rendered with the savviest, moviewise virtuosity. A young woman's despair, and a nation's, was never so damned entertaining.
  52. It could as well be called Best Thing of Undetermined Species.
    • 86 Metascore
    • 90 Critic Score
    The film has refurbished the classic romantic gospel of the outcast wanderer.
  53. Weird, beguiling premise.
  54. Patient and plodding -- but as realized by John Malkovich, in his directorial debut, utterly absorbing.
  55. Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.
  56. Roy-Lecollinet’s face, both haughty and welcoming, both anchors the movie and sets it free in the wind. No wonder Paul can’t shake the memory of it. It’s the thing that will age him before his time—and also keep him young forever.
  57. A devious mind game, Trance is also the most entertaining smart movie so far this year.
  58. A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.
  59. Somehow this Jungle Book works, because Favreau has both a sense of humor and a sense of spectacle.
  60. Beyond the viral ingenuity of the marketing, what's cool about PA is that it's not just a fun thrill ride; it's an instructive artistic experience. A horror-movie revisionist, Peli follows a less-is-more strategy.
  61. You’ve seen every element of Sing Street hundreds of times before — it’s Carney’s knack for assembling them that makes the difference. In his hands, this isn’t just a nostalgia trip. It’s an homage to teenage kicks and the urgency of getting them any way you can.
  62. Robots goes for a color scheme that is cool, muted, instantly aged. Director Chris Wedge wants the eye to concentrate on the gags he and his writers (including veteran comedy craftsmen Lowell Ganz and Babaloo Mandel) have stuffed into the film.
  63. This is a sad, subtle and very good movie, designed not so much to make you think, but to make you feel the impact of large events on little lives.
  64. Everyone in the cast has his or her solo, and all rise brilliantly to their occasions, notably Gwyneth Paltrow, Jennifer Beals, Mina Badie and a divinely neurotic Jane Adams.
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  65. The scenes cut so close to the emotional bone that you can understand why they might cause a panic amongst MPAA boardmembers, although of course, it's nothing to be afraid of: just the realism of love in its varied forms.
  66. It stands, soars on its own. It moves to a seductive rhythm and vision.
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  67. Diane Keaton, directing her first fictional feature, gets us safely through a movie that could have turned to mush at any moment.
  68. Despite its elements of brutality, this is a buoyant hymn to life, and a movie to celebrate.
  69. Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?
  70. Chris Paine's documentary makes an unapologetic case for the car and an unofficial indictment of the forces allied against it.
  71. The film is generous to all its besotted creatures, and to the audience as well. Viewers who fall in love with Café de Flore will find that it loves them back.
  72. [Pfeiffer & Demme] and a gang of co-stars have created a coherent farce symphony.
  73. To absorb God's body blows, this disquieting, haunting movie says, is to be fully alive. To do otherwise could kill you.
  74. Well acted, and it achieves a strong, smart, engaging life of its own.
  75. To make an unembarrassing movie about embarrassment is definitely an eye-opening achievement.
  76. As long as Training Day stays tightly focused on the struggle between the two cops, the movie is first rate.
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  77. The scariest romantic comedy of the year.
  78. The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.
  79. Like Crazy is a cinematic love potion and you leave it feeling bewitched.
  80. A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.
  81. It features as ghastly a group of interstellar pirates, the Klingons, as ever entered the star log, plus a spectacularly self-destructive planet and plenty of technically adroit and sometimes witty special effects. These are classic directorial occasions, and Nimoy rises to them with fervor, in effect beaming his film up onto a higher pictorial plane than either of its predecessors.
  82. A modestly mounted, but curiously poignant little documentary... which somehow -- quietly, devastatingly -- shows and tells you more than you may perhaps want to know about the dehumanization implicit in the mighty, blighted Iraqi adventure.
  83. Nichols—director of Take Shelter, Mud and, most recently, Midnight Special—tells the Lovings’ story in a way that feels immediate and modern, and not just like a history lesson.
  84. It has everything you want in an epic: sweep, scope, wild reversals of fortune and plenty of bold, basic emotions.
  85. Murphy, abetted by director Tom Shadyac and a whole raft of writers, cannot entirely escape the curious blend of aspiration and sloppiness that marked the earlier film.
  86. For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  87. Fetching little monument to the bard of rapturous bereavement.
  88. This ambitious blend of live action and computer animation runs the risk of being overwhelming and sterile, but it turns out to be a pleasing and sweet-natured adventure thanks in large part to Spielberg’s big, friendly secret weapon: Mark Rylance, as the BFG himself.
  89. She's (Jolie) got what no other Hollywood woman even tries for, and which is embodied among recent international stars perhaps only by Hong Kong action star Michelle Yeoh: feminismo.
  90. Writer-director Ramsay neither sentimentalizes nor garishes up the lost children in this observant and poetic drama.
  91. Damon, beefed up for the occasion, makes Pienaar a stalwart yet courtly figure. Freeman infuses Mandela's speeches with the same gentleness and gravity he's brought to his numerous God roles and the Visa Olympics commercials. But the real deity here is Eastwood, still chugging away handsomely in his 80th year.
  92. Niftily quirky.
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  93. Although Eggers is discreet – the things you don’t see are more horrifying than those you do – the picture’s relentlessness sometimes feels like torment. But if you can survive it, The Witch is a triumph of tone.
    • 74 Metascore
    • 80 Critic Score
    What's most captivating about Monster is that the camera never looks away and Metallica never hides.
  94. Occasionally succumbs to Mika's legato rhythms, but it is more often a sly, subtle comedy about the oh-so-gentle art of murder.

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