Time's Scores

For 2,050 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Mudbound
Lowest review score: 0 W.E.
Score distribution:
2050 movie reviews
  1. 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.
  2. Somehow, it works, thanks largely to Farrell.
  3. Like the provocative classics Dog Day Afternoon and Network, this is discomfiting entertainment–its edges are serrated, sharp enough to cut. The camera moves to just the right place every minute, and the editing is crisp. Moments of nearly unbearable tension are broken by bursts of energy and even humor.
  4. It’s that rare superhero movie that doesn’t grind you down with nonstop action or, worse yet, the usual tiresome cavalcade of smart-ass wisecracks.
  5. There’s only one reason to see The Huntsman: Winter’s War: Gowns! Insane, off-the-hook gowns.
  6. 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.
  7. Somehow this Jungle Book works, because Favreau has both a sense of humor and a sense of spectacle.
  8. This Barbershop is simply a place where we can all laugh together, sometimes at ideas that veer close to being explosive.
  9. Movies are often about so much more than what they’re about, and the riches of Louder Than Bombs—which borrows its name from a compilation album by The Smiths—lie in the way Trier reveals the secret fears and longings of nearly every character, showing, ultimately, that even when people fail to connect, that itself can be a kind of connection.
  10. Vallée, working from a script by Bryan Sipe, packs in too many symbols and potent signifiers – some are harmless, others are literally sledgehammer heavy. The movie doesn’t need all that when it’s got Gyllenhaal.
  11. Crude gags mingle with squishy, underdeveloped messages about family and belonging and empowerment. And while self-abasement is part of the comedian’s toolbox, there’s something depressing about watching as a chortling Michelle airs her unmentionable area while spraying herself with self-tanner. McCarthy deserves better than this. She can aim higher.
  12. 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.
  13. Those jokes are mostly just toothless and silly. The plot is barely serviceable, but it will do, and most of the first movie’s cast has been reassembled under its flimsy umbrella.
  14. Batman v Superman lunges for greatness instead of building toward it: It’s so topheavy with false portent that it buckles under its own weight.
  15. 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.
  16. 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.
  17. Nine out of ten gags in this crude pub crawl of a comedy are indefensible. Maybe ten out of ten. Tragically, perhaps, I laughed anyway: It’s so hard to know what to laugh at anymore, and what it’s OK to laugh at.
  18. 10 Cloverfield Lane...is not an outright Cloverfield sequel but rather, as Abrams has put it, a “spiritual successor.” It’s also a better movie, one with a sense of humor about itself and its genre.
  19. For loyal Malick fans, the woozy dream-logic visuals here may be enough. But this director is hardly the perceptive student of human nature he’s cracked up to be. He understands so little about women – and even less about our shoes.
  20. There are enough under-the-radar subtleties, rendered with a refreshing lack of smart-aleckiness, to make Zootopia feel current and fresh. It’s a modest, unassuming entertainment that’s motored by a sly sensibility.
  21. 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.
  22. Boldly entertaining.
  23. The majesty of nature is Embrace of the Serpent’s true star, and Guerra captures the glory of every leaf, every inch of sky, in pearlescent black-and-white as luminous as the lining of a clamshell. In Guerra’s eyes, as in Karamakate’s, the forest is magic itself—and it’s no less remarkable for having sprung from something as lowly as the earth’s soil.
  24. 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.
  25. Deadpool, intended as a spiky antidote to superhero oversaturation, ends up impaling only itself.
  26. Mostly, Kung Fu Panda 3 is just fun.
  27. As Pine’s Webber navigates that seemingly helpless little boat, squinting into the driving snow and more than once nearly falling victim to the ocean’s mighty maw, he’s the movie’s finest special effect — not because he’s mindlessly brave, but because he lets us see how scared he is.
  28. The novelty of Pride and Prejudice and Zombies wears thin in the last third: How is it that the threat of a zombie apocalypse is always more thrilling than the event itself? But Riley and James help carry the picture to the finish line.
  29. Hail, Caesar! doesn’t completely hang together. But Johansson in a mermaid’s tail? Really, why else make movies—or go to them?
  30. Moretz gives the movie whatever warmth it has, though not even she can give it a real pulse.

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