Time's Scores

For 2,013 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Schindler's List
Lowest review score: 0 W.E.
Score distribution:
2013 movie reviews
  1. Mission: Impossible – Ghost Protocol is no "Fast Five."
  2. These aren't really characters; they are points on a rigidly conceived political spectrum. Singleton has made all the right political moves given his complicated circumstances, but he hasn't really made a movie of them.
  3. There is an inherent problem about any sequel that too slavishly duplicates the style and substance of its predecessor; it cannot deliver the delight of discovery that the original provided. Axel made a swell first impression, but he is still living on it, perhaps not yet a bore, but not quite as fascinating as he once promised to be.
  4. A loose but fairly snappy remake of the 1969 charmer "Cactus Flower."
  5. Lynch and his film will surely be reviled, but as an experiment in expanding cinema's dramatic and technical vocabulary, Blue Velvet demands respect. [Sept. 22, 1986]
    • Time
  6. Neither the acting nor the story matters much here; the movie is simply the sum of its 3D effects.
  7. If Hollywood is going to remake a '70s movie, it might as well be Pelham, and it ought to work as competently as this one. But wouldn't it be nice, once in a while, for Hollywood to turn contemporary traumas into vigorous movies instead of hijacking the anxieties of the past?
  8. The film mostly simmers.
  9. 42
    Boseman is not a hugely close physical match to Robinson, except for perhaps in the power he conveys, but he’s a great choice to play the ball player, unfamiliar enough, despite a decade of small credits here and there, to feel like an athlete, not a movie star playing one.
  10. This spectacle of strenuous improvising is more stunt than true experiment.
  11. The movie’s ending is little more than a fizzle. But wow, what a dog. The extraordinary animal actor Jumpy, a border collie mix with fabulous speckled legs and alert triangles for ears, listens attentively to every word from his master’s mouth, comprehending nothing yet understanding everything.
  12. This is a Bond with great body but no soul.
  13. Me, I'm of two minds about a movie that wants to be a nail-ripping thriller and a statement on an artist's unholy communion with her role. It's reminiscent of older, better movies.
  14. It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
  15. It appears to be a true reflection of her (Shelly) spirit -- eccentric, good-naturedly feminist, kind of funny and kind of sentimental. Despite its realistic setting in a small Southern town, it is much more a fable than it is a slice of authentic life.
  16. Alien: Covenant is reasonably entertaining. But it slips off course after that opening section, and the problem is caused by the very creatures we presumably came to see.
  17. The movie is way too colorful - cute, in a repulsive way, with its crawly special effects - and tame compared with its source.
  18. Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
  19. Not so good is the absence of hip cross-references to the classic horror tropes.
  20. The Guilt Trip works because we all know and like a Joyce Brewster (or dozens of them).
  21. A decent sampler for Americans who've never seen a full-out Bollywood musical, since it goes heavy on the action scenes and light on the big dance numbers.
  22. For every obvious turn The Help takes, there is Davis, the ideal counterweight.
  23. Reynolds can't help looking rather shifty as he relates his story and Breslin, who was so wonderful in Little Miss Sunshine, is obliged to play a standard-issue wise child.
  24. Maybe the filmmakers are so lost in their slambang visual effects that they don't give a hoot about the movie's scariest implications. [10 Nov 1997, p.102]
    • Time
  25. Cutting through the epic gesturings of Andy Tennant's direction, he (Yun-Fat Chow) provides reason enough to return one last time to this otherwise weary romance
    • Time
  26. As Pine’s Webber navigates that seemingly helpless little boat, squinting into the driving snow and more than once nearly falling victim to the ocean’s mighty maw, he’s the movie’s finest special effect — not because he’s mindlessly brave, but because he lets us see how scared he is.
  27. Writer Leslie Bohem and director Roger Donaldson brush briskly through the standard scientific and romantic blather. They know that in movies like this, complexity is the province of the special-effects people.
  28. To accept the film, though, one must first understand its point of view, and that is maddeningly difficult. All we know for certain is that Do the Right Thing is not naturalistic. [July 3, 1989]
    • Time
  29. The problem with shock comedy is that it works in its purest form only the first time. Where do you go after you've gone too far? No artist can get heads to swivel and stomachs to turn indefinitely.
  30. In the end, it feels too much like a school assignment. Washington approaches the material with canonical reverence, but that isn’t the same as shaking it up and bringing it to life on-screen.

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