Time's Scores
- Movies
- TV
For 1,584 reviews, this publication has graded:
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56% higher than the average critic
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2% same as the average critic
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42% lower than the average critic
On average, this publication grades 3.3 points higher than other critics.
(0-100 point scale)
Average Movie review score: 65
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 929 out of 1584
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Mixed: 485 out of 1584
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Negative: 170 out of 1584
1,584
movie reviews
- By critic score
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Reviewed by
Richard Corliss 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.- Posted Feb 19, 2013
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Reviewed by
Mary Pols 30
Snitch wasn’t going to be good no matter what Johnson did; it is so poorly directed that even Academy Award winner Susan Sarandon, playing a shrewish federal prosecutor, comes off as a hack straight off a soap opera.- Posted Feb 25, 2013
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Reviewed by
Richard Schickel 30
Star Trek is, finally, nothing but a long day's journey into ennui.- Posted Mar 27, 2013
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Critic Score 30
Gatsby's sad and curious history has resulted in a dull, dreadful movie. The film is faithful to the letter of F. Scott Fitzgerald's novel but entirely misses its spirit.- Posted Apr 22, 2013
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Reviewed by
Richard Corliss 30
The collision of violent spasms and art-film ennui leave the viewer’s brain bloody but unfilled.- Posted May 22, 2013
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Reviewed by
Richard Corliss 20
What aims at being terrifying is just loud and goofy. -
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Reviewed by
Richard Corliss 20
Erin Brockovich is slick, grating and false. We bet it makes a bundle. -
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Reviewed by
Richard Schickel 20
This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time. -
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Reviewed by
Richard Corliss 20
Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou. -
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Reviewed by
Richard Schickel 20
Occasionally funny but mostly desperate, small-minded and uncompelling. -
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Reviewed by
Richard Schickel 20
At once smug and lazy, qualities fatal to comedy. -
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Reviewed by
Richard Corliss 20
A ticket to Pretty Woman buys you mechanical titillation and predictable twists... Old-fashioned, assembly-line moviemaking without the old panache. [2 Apr 1990, p.70] -
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Reviewed by
Richard Schickel 20
There's a definite limit to the number of moron jokes we can absorb in 100 minutes, and their movie exceeds it. -
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Critic Score 20
After an agonizing first half-hour designed to empty the theater, Lynch unleashes his patented perfervid style, puts the familiar dwarfs and feebs on display and elicits a nicely horrifying turn from Lee. [7 Sept 1992] -
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Reviewed by
Richard Schickel 20
In this climate, turning even a small corner of this century's central horror into feel-good popular entertainment is abhorrent. -
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Reviewed by
Richard Schickel 20
Half comedy, half action piece, the movie runs sputteringly on the not inconsiderable charm of its stars. But basically it is languid, indeterminate and uninvolving. -
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Reviewed by
Richard Corliss 20
Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films. -
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Reviewed by
Richard Corliss 20
It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84] -
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Reviewed by
Richard Schickel 20
The goofy hysteria of something like "A Summer Place" was infinitely more entertaining and emotionally authentic than the distant smugness of this failed clone. [7 April 1997, p. 76] -
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Reviewed by
Richard Corliss 20
The only thing Schumacher and his scrupulous craftsfolk forgot to give the movie was life -- the energizing spirit of wit and passion that makes scenes work and characters breathe. -
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Reviewed by
Richard Schickel 20
The movie's central problem: a lack of alternative suspects...How the screenwriter, Todd Komarnicki, and the director, James Foley, resolve this problem is a genre travesty and an affront to their star. -
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Reviewed by
Richard Corliss 20
I Love You to Death lacks the precision, ferocity and guts needed for black farce. -
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Reviewed by
Richard Schickel 20
Valmont arrives stiffened by the elegant, inert formalism of Forman's direction, and chilled by Carriere's all too sober respect for his source and by their mutual determination to apply modern psychological understanding to the behavior of the principal figures. -
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Reviewed by
Richard Schickel 20
The result is a flat, dumbly brutal movie, full of overplotted complexity and empty of all emotional resonance, except that provided by the presence of Jane Greer (the original film's dark lady, here doing a supporting role) and Richard Widmark. -
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Reviewed by
Richard Schickel 20
One is left wondering why Williams has granted early retirement to his inner anarchist, what dark need compels a great clown to become a sad, fuzzy one in movies only Bob Dole - faking it -could love. -
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Critic Score 20
Adrian Lyne, late of Flashdance, directed this silliness, and three writers watched their script fall victim to the death of a thousand cuts. -
