Time's Scores

For 1,801 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 The Princess Bride
Lowest review score: 0 Two of a Kind
Score distribution:
1801 movie reviews
  1. Japanese Story is a simple, austerely told tale. But there is something memorable, even haunting, about it.
  2. It is, like quite a few Lumet pictures, rather small in scale, easy to overlook. But I think it is time to gather around a director who has embraced his octogenarian bleakness and sing his praises. Ultimately, I think you'll laugh a lot at what he has wrought here -- but only well after the movie is over and the full scale of its perversity settles into your bones.
  3. Pixar's improved computer animation is up to all the demands of this excellent adventure.
  4. The sweetest and funniest of Guest's true-life fake-umentaries.
  5. The result is a harrowing film, impossible to "like" in any conventional way, hypnotically impossible to turn away from.
  6. Elegantly made, romantically doomy, curiously affecting movie.
  7. This is rapture in pictures. [22 December 1997, p. 81]
    • Time
  8. Sayles is a meditative storyteller, with a tendency to mute melodrama rather than letting it wail. But he is also one of the few filmmakers still ferreting out the strangeness and anxiety hidden beneath our poses of ordinariness. [22 July 1996, p.95]
    • Time
  9. What we come to care most about in writer-director Joshua Marston's film is how his heroine achieves the state promised by his title, Maria Full of Grace. Our emotional investment in her derives primarily from the astonishing performance of Moreno, 23.
  10. The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.
  11. The poise and passion in Eve's Bayou leave one grateful, exhausted and nourished. For the restless spirit, here is true soul food.
    • 83 Metascore
    • 90 Critic Score
    There is no solace to be had in this raw, intimate drama, a feature-film debut for writer-director Josh Mond. No triumph of the human spirit. There is instead something rarer and more valuable: urgently personal filmmaking, and Abbott’s stunning performance.
  12. The best movie of this very young millennium.
    • Time
  13. A solemn, subtly structured, beautifully acted and ultimately hypnotic movie.
    • 77 Metascore
    • 90 Critic Score
    Kramer vs. Kramer is a rare movie that finds its tone, its focus and its poetry in its very first image.
  14. It’s an enormous, steroidal blast, and as much ingenious fun as a blockbuster can be.
  15. The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.
  16. The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]
    • Time
  17. Mud
    Glorious vision of youth and truth, love and loss, your name is Mud.
  18. 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.
  19. Tom Ford -- the Texas-born fashion designer who for a decade was the creative director at Gucci -- financed this first feature himself. The producer couldn't have hired a smarter director.
  20. Darren Aronofsky brings wild ambition and thrilling artistry to one of the Old Testament’s best-known, most dramatic, least plausible stories — Noah and the ark — with Russell Crowe infusing the role of God’s first seaman and zookeeper with all his surly majesty.
  21. It's a cagey delight, and an imposing feature directorial debut for one of Britain's TV stalwarts.
  22. Director Joel Schumacher's breathlessly paced and incident-crammed movie will induce a certain sense of deja vu among veteran viewers.
  23. The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."
  24. For dinosaurs to rule the earth again, the monsters needed majesty as well as menace. And Spielberg got it all right. [14 June 1993, p.69]
    • Time
  25. This darkly seductive, flawlessly acted piece is worlds removed from most horror films. Here monsters have their grandeur, heroes their gravity. And when they collide, a dance of death ensues between two souls doomed to understand each other.
  26. It is a powerful portrait of a slightly befuddled man who, when inhuman demands were placed on him, found within himself an unexpected response.
  27. Funny, hurtful, splendidly acted.
  28. Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]
    • Time

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