Time's Scores

  • Movies
  • TV
For 1,702 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The School of Rock
Lowest review score: 0 W.E.
Score distribution:
1,702 movie reviews
  1. The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
  2. Alas, The Outsiders is not quite a good one. Because it falls in with the undulating rhythm of the life of its heroes, for whom a fatal fight and a quiet night have almost equal importance, the picture never manages to reach the peaks of satisfying Hollywood melodrama.
  3. The film is basically a drag, and not helped by Christopher Cain's stand- around direction. And one's thirst for the clear, cool taste of traditional narrative -- motivated movement, defined antagonists, building suspense -- soon reaches maddening levels. A grownup could die in this wasteland. [5 Sept 1988, p.63]
    • Time
  4. There are, of course, low cunning, high explosives and much running around without a shirt, punctuated with other familiar gambits: torture scenes; the self-cauterization of, and instant recovery from, a wound large enough to stop an elephant; and a grimly preposterous two-man stand against a tank-led army. What few are likely to find amusing is Rambo III's story line. [30 May 1988, p.64]
    • Time
    • 79 Metascore
    • 30 Critic Score
    Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, then-scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.
    • 80 Metascore
    • 30 Critic Score
    By the time Scenarist Allen and Director Fosse have wrung them out, what's left - with one exception - is mostly slack and sour.
  5. Rarely have so many gifted women labored so tastefully to bring forth such a wee, lockjawed mouse.
  6. If you consider what the exalted quartet of Branagh, Pinter, Caine and Law might have done with the project, and what they did to it, Sleuth has to be the worst prestige movie of the year.
  7. This is moviemaking for people who don't much like movies unless they are -- you know -- "serious." It is visually inert. It appears to be taking up small-scaled, yet emotionally resonant issues, but does not actually define them sharply or bring them to firm conclusions.
  8. Jumper is so lame -- undernourished in its characterizations, stillborn in its action scenes -- that it inevitably leads the idled mind to wondering how this movie got past the pitch stage.
  9. Either the Coens failed, or I didn't figure out what they're attempting. I must be like Harry or Osborne, pretending to a sophistication I lack. Burn After Reading is a movie about stupidity that left me feeling stupid.
  10. The result is a mess. Kym, in Hathaway's unsympathetic performance, is an annoyingly sour observer of the proceedings, a time bomb everyone hopes will not explode before the marriage is completed.
  11. The only collateral damage is in the audience, where, as you sit through the movie, you can feel your IQ drop minute by minute.
  12. Butler has the showier part, but his impersonation of the tragic hero is undercut by his weird resemblance to Soupy Sales. You start hoping that Shelton will kill somebody with a custard (or puffer-fish) pie to the face.
  13. That imperishable affability, that eagerness to please his Hollywood bosses, allows Chan to elude many of the indignities thrown his way in The Spy Next Door. It may also be the reason he says yes to a junky movie like this.
  14. Mostly awful.
  15. A picture that registers between Abysmally Awful and Mildly Mediocre. Such a one would be When in Rome, which is possible to sit through without wanting to stick darts in your eyes or frag the screen. Call it medi-awful.
  16. Sluggish, formulaic.
  17. Take what pleasure you can from the two stars. They look great; it's just the state of romantic comedy that looks terminal.
  18. The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
  19. Another dreadful entry in the festering form of romantic comedy: the forced intimacy of two people who have nothing in common but hatred for each other.
  20. For Colored Girls feels like the cinematic equivalent to putting a garish reproduction of the Sistine Chapel on the ceiling of your McMansion and calling it art.

  21. I'm afraid the DeNiro of "The Godfather, Part II" and "Goodfellas" has mostly faded from my mind, replaced by the DeNiro of the Fockers - a grim-faced comedian who tends to make me sad.
  22. Sanctum is a stinker, a horror movie without a visible monster.
  23. There are gaping holes in logic throughout this sloppy, cheap-looking mess from "Disturbia" director D.J. Caruso.
  24. Sucker Punch has vast empty patches, deserts of dead air.
  25. The movie is like a car wreck in which no one is injured but the onlookers.
  26. Shrill and charmless. I didn't believe a word of it. I wanted to spank it and banish it to its room.
  27. For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
  28. Crowe has made a meretricious weepie that rouges the facts and defeats the attempts of Matt Damon, with his considerable charm and skill, to breathe some emotional truth into it. There's a word for the strenuous, shameless plucking of an audience's emotions that this movie traffics in: cornography.

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