Time's Scores

  • Movies
  • TV
For 1,682 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 Sex, Lies, and Videotape
Lowest review score: 0 Billy Madison
Score distribution:
1,682 movie reviews
  1. Take what pleasure you can from the two stars. They look great; it's just the state of romantic comedy that looks terminal.
  2. 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.
  3. 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.
  4. 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.

  5. 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.
  6. Sanctum is a stinker, a horror movie without a visible monster.
  7. There are gaping holes in logic throughout this sloppy, cheap-looking mess from "Disturbia" director D.J. Caruso.
  8. Sucker Punch has vast empty patches, deserts of dead air.
  9. The movie is like a car wreck in which no one is injured but the onlookers.
  10. Shrill and charmless. I didn't believe a word of it. I wanted to spank it and banish it to its room.
  11. For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
  12. 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.
  13. By our count, three of the core SEALs are maimed or dead by the end. A new baby is left without her loving father. The picture ends not with a parade but with a funeral. And that may be the toughest, most lasting image in this cockamamie, Pentagon-approved war adventure.
  14. Casa de mi Padre is flawed in that it wouldn't be particularly enticing in any language.
  15. I didn't believe a word of the film and found myself feeling nothing but (I'm sure this wasn't Kaye's point) detachment.
  16. Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
  17. The awfulness of What to Expect When You're Expecting, an ugly brew of guide book, reality television and romantic comedy, is of course, entirely to be expected.
  18. So creaky and out of touch it inspires pity. Its opening sequences are a near marvel of confusion, mayhem and embarrassments for its actors. If it was a person, you'd worry it had dementia.
  19. A triumph of bravado over self-regard, Brody's performance won't earn him a Oscar to place next to the one he earned for "The Pianist" nine years ago, but it's the only thing that makes High School marginally worth catching.
  20. Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
  21. Red Lights reaches for a "The Sixth Sense"-style twist and whiffs it completely.
  22. Vapid, claustrophobic drama.
  23. Many of D’Souza’s charges in his movie are either piffling (Obama returned a bust of Winston Churchill to the British Embassy), wrong (the U.S. is drilling for at least as much oil now as in the George W. Bush) or murky.
  24. Roger Michell's movie is, pretty consistently, dreadful.
  25. If it weren't for him (Hemsworth), surely the Red Dawn remake would have gone straight to video; he's the only person worth watching in it (oh the pain of watching the wan Isabel Lucas hoist a rocket launcher).
  26. So Broken City stokes a lot of hopes. Too bad for all of us, the makers and the watchers alike, that it's a grimy botch.
  27. A buddy movie that limps along, pausing for breath and pulse checks like a geriatric dutifully fulfilling doctor's orders to get some exercise.
  28. It’s just a movie, with a dramatic arc that’s supposed to make all that mean stuff drift away into the ether as friendship is born, but it’s that look that hangs around like a bad smell.
  29. It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home.
  30. "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.

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