Time's Scores

For 1,880 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 Frozen River
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1880 movie reviews
  1. When Possession finds its true home, lodging in the convulsive certitude of Victorian romance, it does indeed catch fire -- and warms any viewer in the mood for love.
  2. The movie is less to be experienced than to be appreciatively studied, like an insect, a stuffed bird, or the sketch by a gifted artist in the style of an Old Master — in this case, the Master of Suspense. It’s not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark.
  3. Still, at its best Keeping Up with the Joneses riffs on something very real: the existential loneliness of living in a place that’s just too perfect. Everyone needs new friends now and then – even ones who make you eat snake.
  4. My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
  5. Law, sexy and crafty as ever, and here with a flinty innocence, proves again he has the star-quality goods.
    • Time
  6. Tawdry but compelling.
  7. The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
  8. The glossily photographed family drama People Like Us is not without appeal, but it has a major construction flaw. It's dramatic arc is predicated on the problem of accidental incestuous attraction. Egads.
  9. What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
  10. Romantic comedies often make do on flimsy premises, but this one is thinner than Kate Moss and nuttier than an Almond Joy.
  11. For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
  12. Allen has assembled an attractive cast and given most of them clichés to inhabit. He has also stinted on inventiveness.
  13. We forgive Bridget the movie its obvious flaws because of its equally inescapable charm.
  14. Whereas Italian fashion icon Valentino was larger than life in "The Last Emperor," Matt Tyrnauer's jazzy 2009 documentary, Saint Laurent in L'Amour Fou is mostly a rather sweet and anguished ghost.
  15. The novelty of Pride and Prejudice and Zombies wears thin in the last third: How is it that the threat of a zombie apocalypse is always more thrilling than the event itself? But Riley and James help carry the picture to the finish line.
  16. Agreeable but never compelling, Silverado proves it takes more than love of the western to make a good one. Maybe the dudes at K-Tell were a mite too slick for the job.
  17. Obvious, though, is the word for Hopper's direction. It amplifies to rock-concert level every pained plosive in Bertie's speech, forces certain characters dangerously close to caricature.
  18. These stories, alas, are utterly predictable. Still, Samuel L. Jackson breaks through the crust of cliches as an expert called in to verify the instrument's provenance, and violinist Joshua Bell plays and Esa-Pekka Salonen conducts John Corigliano's score ravishingly.
  19. Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  20. Dark, detailed and only really gets going when the gunplay starts.
  21. The Keane story is a rich parable that deserves either a wilder or a more acute telling than Burton provides here.
  22. By the end-credit sequence, when the stars appear in spandex outfits to reprise Dancing Queen, the audience may be singing along as if they'd overdosed on ouzo.
  23. There's something refreshing about its utterly unembarrassed embrace of the familiar. The director, George Tillman Jr., either doesn't notice or doesn't give a hoot about the way Scott Marshall Smith's script piles up cliches.
  24. As shot by the gifted cinematographer Seamus McGarvey, Nocturnal Animals is beautiful—or at least arresting—every minute, and it sure isn’t boring. But it’s unclear exactly what Ford is trying to say, though it’s clear he’s trying hard to say something. And that’s the most frustrating thing about this picture.
  25. Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
    • 64 Metascore
    • 60 Critic Score
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
  26. Provides the familiar cheap thrills but with a salsa tang.
  27. Lowery stumbles, working too hard to squeeze a response from us.
  28. This is what lifts Seven Pounds above other Smith dramas -- he does tentatively allow another adult onto his solitary planet.
  29. The Lady is still titled away from the churning melodrama of Suu Kyi's country and toward the intimate dilemma of a loving couple forced apart by circumstance.

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