Time's Scores

For 2,020 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 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Social Network
Lowest review score: 0 The Last Airbender
Score distribution:
2020 movie reviews
  1. Marvin's Room, the 1991 Scott McPherson play, filmed by Jerry Zaks, is an old-fashioned weepie of noble mien with many bright moments and a superb cast.
  2. The Wave, with the exception of a few overwrought moments, is low on sadism and high on humbling. We’re all at the mercy of nature’s power. It’s the Whatever we can never outrun.
  3. 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.
  4. This very patient film reaches out and unshakably grips us.
  5. Enigma is not for everyone, but the thoughtful (and the historically minded) will find it an absorbing and extremely well-textured experience.
    • Time
  6. It feels as if it has been recovered from a time capsule, and what larger meaning it may have is anyone's guess. But it is way cool -- and funny -- in ways that more expensive comedies trying harder rarely are.
  7. Cecil B. proves how a dose of smart bad taste can be jolly good fun.
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  8. Obsession has seldom looked as gaudy or thrilling as here.
  9. Ali
    A thoughtful epic is both a rarity and an oxymoron. But that's what Ali is, and you can't help being drawn sympathetically into its hero's struggle for mastery of himself and his era.
    • Time
  10. [Murphy] makes Trading Places something more than a good-hearted comedy. He turns it into an event.
  11. The comedic first part of Jacques Audiard's film doesn't achieve a seamless connection with its melodramatic second half, but you can't deny the originality of his conceit or the tart cynicism of its development.
  12. Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
  13. Binoche is especially subtle and radiant in another splendid drama from Leconte.
  14. Shine a Light isn't the record of a unique event, so it's not on the exalted level of "The Last Waltz." But it has its own fascination. The film is less about the music than about the dedication of show-biz troupers--about doing your job, year after year, as if it's your joy.
  15. Let Me In is not as fantastic as "Let the Right One In," which you should rent immediately. But it is undeniably powerful and made with obvious admiration and respect for the source material.
  16. At the very least, it's awfully entertaining and for "Buffy" fans, reason to put down the boxed sets and run off to the cinema.
  17. A smart, tough, yet curiously moving film.
  18. With Half-Blood Prince, again we have a stalwart, satisfying visualization of the Rowling cosmos.
  19. What really registers is how frustrating Krisha’s erratic, furtive behavior would be if she were part of your family — and how deeply sympathetic she is because, thankfully, she is not. Fairchild’s performance is key to the movie: Krisha is witty and chatty one moment, and shut down like a deserted fairground the next.
  20. Here's another warning: you may laugh yourself sick--as sick as this ruthlessly funny movie is.
  21. Even when the movie sags and strains a bit in Act III, Clooney keeps it flying with old-fashioned movie-star allure. He's got it all: Cary Grant's looks and, inside, Bob Hope's snake-oil-salesman soul.
  22. 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.
  23. Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
  24. Director Harlin's only large mistake is staging the several violent deaths too authentically. They momentarily mar the high-speed implausibility of a movie that, like his Die Hard 2, agreeably combines the edgy and the genial.
  25. Writer-director Carl Franklin's cool, expert adaptation of Devil in a Blue Dress, Mosley's first novel, evokes the spirit of '40s film noir more effectively than any movie since Chinatown.
  26. You could also say the picture lacks a coherent plot and complex characterization, but those are irrelevant to the genre. The movie is like a superior athlete who gets tongue-tied in a post-game interview but on the field is poetry in motion.
  27. Brigsby Bear is a sweet-natured picture with an undercurrent of prickly energy.
  28. If this riveting, repelling film is to be seen, it must be not at home but in a theater, where you are confined in a room, like Sandra and Becky, deciding whether to watch, and how you would react.
  29. It’s been said that if the U.S. couldn’t tighten its gun-control laws after Sandy Hook, it never will. But Newtown refutes hopelessness, making its case less with words than with faces it’s impossible to forget.
  30. A small epic with subtle strengths.
  31. Ross is a filmmaker with a taste for inherently sentimental tales…but the discipline not to play mawkishly to our sentiments. You will be moved by Seabiscuit--but not to tears.
  32. Veronica Guerin paid with her life. This film would make her proud, for it is ultimately not depressing but -- we say without a shred of journalistic irony -- inspiring.
  33. Sometimes engrossing, sometimes exasperating romance. In these scenes, Cotillard shows she doesn't need the validation of Cannes or the Academy. Her strong, subtle performance is gloriously winning on its own.
  34. Boldly and gaily sustained the madcap momentum for the whole of its eighty-few minutes.
  35. Warm Bodies is the first movie worth paying to see in theaters this year. It’s an inventive charmer that visits all the typical movie scenarios of young love amid chaos and disaster, but with a new dimension: one of the romantic leads is a zombie.
  36. A rich, intricate and very gripping movie.
  37. Whoever thought of having evil's final manifestation take the form of a 100-ft. marshmallow deserves the rational mind's eternal gratitude. But praise is due to everyone connected with Ghostbusters for thinking on a grandly comic scale and delivering the goofy goods, neatly timed and perfectly packaged.
  38. The result is an escapist fantasy that is -- Damon's and Potente's persuasive performances aside -- as weightless and inconsequential as a musical. And at the moment every bit as welcome.
  39. Not for everyone. The plot is full of holes, and its language is worse than it has to be. But it has some swell supporting performances and a lot of vulgar inventiveness, and best of all, it plugs into -- and electrifies -- the mostly unacknowledged grimness that lies just beneath our holiday cheer.
  40. The Edge of Seventeen is particularly perceptive in how it deals with teenage sex—maybe even with sex in general.
  41. Michael Clayton is not an exercise in high-tension energy; you'll never confuse its eponymous protagonist with Jason Bourne. But it does have enough of a melodramatic pulse to keep you engaged in its story and, better than that, it is full of plausible characters who are capable of surprising -- and surpassing -- your expectations.
  42. As for Blanchett, she's simply wonderful. She has played her share of queenly figures, but her acting essence is, emotionally speaking, plain-Jane. She's a straight shooter, with an uncanny ability to find a character's spine and communicate it without fuss or feathers.
  43. There is not a cheap note or a careless image, not an easy judgment or a forced emotion, in the 2 hr. 43 min. of Bird. It permits a man's life its complexity. It invites us to experience the redeeming grace of his music. And with its passionate craft, it proclaims that Eastwood is a major American director.
  44. If this sounds like an old-fashioned sex comedy, it is -- sexy, for sure, and funny, in wild spurts.
    • 81 Metascore
    • 80 Critic Score
    This excruciatingly violent, three-hour Viet Nam saga demolishes the moral and ideological cliches of an era: it shoves the audience into hell and leaves it stranded without a map.
  45. It's a long drink of water at the fountain of pop-social memory.
  46. A movie like Selma should be a relic in a time capsule from 1965, a clue to how well we heeded King’s words and how far we have advanced. Instead it is a reminder that the “American problem” has yet to be solved.
  47. "Shrek," this film's prime competition for the first Animated Feature Oscar, is a synoptic parody of fairy tales. In Monsters, Inc. the gags aren't as spot-on but the technique is miles ahead. The vision is grander and warmer.
    • Time
  48. Colombani has created uncommonly arresting entertainment.
  49. It's a real family film, relatively light on the violence and funny without being overly crude; it even has some touching moments.
  50. I don't think it attains the Godfather level -- it lacks dark passion and grand-scale irony -- but it is an intelligent, well-made and seductive movie.
  51. The sensible formality of Taylor Hackford's direction has the effect of cooling the film's narrative frenzies and helping the actors dig some simple, truthful stuff out of the hubbub.
  52. [A] sexy, spiky love story.
  53. The raunchy but charming Going the Distance is credible, intimate and more appealing than 90% of the romantic pairings in American movies these days.
  54. Eventually you may come to think of Talk to Me as a true movie rarity -- a very honest yet curiously affecting experience.
  55. For stretches of the film, von Trieria is as welcome as Siberia. You must stay to the end for a potent payoff, when the tragic magic of the opening scenes is reasserted.
  56. Designed and destined to win no awards, Machete is expert, cartoon-violent, lighthearted fun. Just the thing to send Junior back to school in a good mood.
  57. Indeed, the entire film is a kind of sock-hop benefit for Approaching Middle Age. This maturing generation never played Taps with such glamour or good humor. Play the music and let the big chill—the knowledge that "we're all alone out there, and we're going out there tomorrow"—melt away in the warmth of the feel-good movie of '83.
  58. This is a good, serious and absorbing movie -- especially, perhaps, for a reviewer who is roughly Kepesh's age and, of course, eagerly evading the issues his story forces up.
  59. There is a looseness to the dialogue that suits the mood of the story-each character gets his or her own bombshell (or two) to digest and has to figure out how to cope with it.
  60. One of the most perfectly constructed pictures of the whole year, a taut, magnetic, visually splendid little package anchored by a sly star turn from Blake Lively.
  61. This documentary, a gallivanting time trip through a bolder film era, is Herzog's final collaboration with Kinski: an act of love and exorcism.
  62. Transcending Holo-kitsch, In Darkness is often a thrilling adventure picture - as if Anne Frank had found an "Inglourious Basterd" to help her make "The Great Escape."
  63. At times Dead Ringers also tilts out of coherence, with scenes that are dramatically stillborn. But Irons is splendid in both roles, and Cronenberg can create tour-de-force tableaux with his effortless black magic. [26 Sept 1988]
    • Time
  64. Simone is a funny, smart, improbably successful satire on contemporary celebrity obsessions, the waning summer's most delirious comedy.
  65. The film is high romance, rather like those American movies of the 1940s -- people snatching at happiness in a world aflame. We don't make them anymore -- stupid us --but we ought to be glad someone does.
  66. Somehow, it works, thanks largely to Farrell.
  67. The overall metaphor Weir was aiming for - this idea of enemies so powerful and a war so menacing and confusingly big that no place seems safe except a place absurdly far away - comes through clearly and stays with you.
  68. As both harangue and movie tragicomedy, Sicko is socko.
  69. Enjoy the savory witches' brew that Cuaron has cooked up in his Harry pot. For on its own terms, this one is truly wizard.
  70. The movie's biggest surprise is the revelation of Gosling as cunning comedian.
  71. Take a while to get their vehicle to sail and soar. But when it does, this Planet is a treasure.
  72. A romantic comedy so smart and sweetly mature, it's liberating.
  73. Body Heat is full of meaty characters and pungent performances...a film to be seen at a drive-in, on a heavy summer night, with someone you trust.
  74. The real fun is in seeing Hong Kong pop cinema at its innocent, crowd-pleasing best. And for Jackie, that goes double.
  75. Solondz observes all this activity from an objectifying distance, very much the anthropologist trekking through the heart of darkness
  76. The performances in Battle of the Sexes, agile and perceptive, keep the game alive every minute.
  77. After “The Matrix Reloaded” and “The Hulk,” there's something refreshing about this movie's complete lack of intellectual pretense.
  78. I finished Larsson's novel with the uncomfortable sense it used a good mystery as an excuse to dwell on sadism and perversity -- an aspect only exacerbated on screen.
  79. The movie has two other qualities you don't always find in films of this kind: a sense of humor and a sense of character. [15 August 1994, p. 61]
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  80. This may seem too inside-cricket for a U.S. audience. And it's true that Cock and Bull is so postpostmodern, it's very nearly postmovie. But it's no less diverting for all that. It would be a shame if the great novel no one has read becomes the terrific film nobody bothers to see.
  81. Gere is being talked about as an Oscar contender - he's never been nominated. January is a long time off yet, but his name is certainly worth putting on the long list.
  82. Girls Trip is just fun, a movie that—even within the context of its broad, exaggerated humor—never seems to be trying too hard.
  83. In a movie of subtle tones and wild swerves, Pike expertly mixes a cocktail of hot and cold blood. She is the Amazing Amy you could fall for, till death do you part.
  84. A movie of shadows and half lights, the best approximation of the old black-and-white noir look anyone has yet managed on color stock.
  85. An often deft, frequently droll little movie.
  86. The movie wants to entertain and educate, not leer, about people flummoxed by participating in a revolution they had meant only to calibrate, and at that it succeeds handsomely.
  87. Not a conventionally satisfying movie but a kind of illustrated journalism: an engrossing, insider's tour of the world's hottest spots, grandest schemes and most dangerous men.
    • 60 Metascore
    • 80 Critic Score
    This sophisticated sugar rush is the longest Bond film ever, but it cruises by with an elegant sense of danger. As with all of Daniel Craig’s 007 outings, it amps up the intelligence and tamps down the attitude.
  88. Fans of the nasty Baron Cohen may regret his being borderline nice in The Dictator. But we should welcome his decision to stop being the best at something few others dare try and instead to inhabit a more familiar comedy style--just going denser, wilder, better. He pulls it off.
  89. An excellent film. [16 Jan 1989, p.64]
    • Time
  90. The actors are all terrific.
  91. As Hobbs, Robert Redford has never been better. A lefty who moves like the ballplayer he once wanted to be, he has, like all the truly great movie stars, the ability to appear as if he has transcended acting and can now simply behave a part like this.
  92. By the end of the movie, whether or not you're a member of Sinn Fein, the Brits' brutality toward the Conlons will get your Irish up.
  93. Nichols and his once and current partner, screenwriter Elaine May, can make a funny, knowing, ultimately judicious film from the deliciously satyric satire.
  94. Mirren, who won an Emmy playing Elizabeth I for HBO, may deserve an Oscar for this ripe appraisal of Elizabeth II.
  95. First-time director Kargman triumphs by picking characters who largely defy expectations.
  96. The story wraps up with a tenderness that feels true but completely without mush. The irony of the title fades as Win Win wins you over.
  97. The film doesn't judge or prod its characters, just watches the long fuse of the plot dwindle, then explode.
  98. It may be a first film, but Labaki, employing a cast that is full of non-professional actresses, is a slick and knowing filmmaker. Her multiple plot lines are neatly braided and though her characters are conventionalized they are also charming and capable of surprising us.

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