Time's Scores

  • Movies
  • TV
For 1,681 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 and the Frog
Lowest review score: 0 Showgirls
Score distribution:
1,681 movie reviews
  1. The sober wit of this comedy arises not from conventional artifice -- snappy dialogue, wacky situations -- but from a realistically drawn ensemble interacting truthfully with one another.
    • Time
  2. But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
    • Time
  3. A brilliant exercise in popular but palpable surrealism.
  4. It is a measure of its complexity--and of the forces Penn and Sarandon have held in reserve during their hypnotic struggle for his soul--that its final moments leave us awash in emotion.
  5. The most mature and satisfying work in a glittering, consistently surprising career.
    • Time
  6. Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
    • Time
  7. Two cheers, at least, for permitting the past to appear not as a stern lesson but as a delicious irrelevance. [10 Mar 1986]
    • Time
  8. All in all, Nurse Betty is a wonderful movie, unpredictably alive to the fact that the American citizenry is a lot stranger than we like to admit.
  9. Results in about the nicest movie you could ask for at the holidays: a gently funny, sweetly adventurous film that makes you feel genuinely good, that is to say, entirely unconned by false sentiment or sharp, overmanipulative Hollywood practices.
  10. Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
  11. The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
  12. Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
  13. Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
  14. There's something old-fashioned and dauntless about the way the film pushes past our initial resistance to its setting and subject matter, past pain, past defeat, to make this point. Because it rejects easy victories, this may be one of the few inspirational movies that could actually inspire someone, somewhere, sometime.
  15. An exhilarating two hours of serious fun.
    • Time
  16. [Darabont] makes you feel the maddening pace of prison time without letting his picture succumb to it.
  17. Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.
    • Time
  18. Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.
  19. [Salles]'s imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting.
  20. A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
    • Time
  21. 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
  22. Droll, reticent, flawlessly filmed fable of generosity.
  23. It is the hilarious business of Shrek, a delightful new animated feature based on the William Steig book, to subvert all the well-worn expectations of its genre.
    • Time
  24. They bring their characters to good, slightly surprising, quite satisfying places. And leave us beaming happily.
    • Time
  25. An elegantly polished little film.
  26. Weird, beguiling premise.
  27. This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
  28. 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.
  29. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time
  30. Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.

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