Time's Scores

  • Movies
  • TV
For 1,707 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 MASH
Lowest review score: 0 Untraceable
Score distribution:
1,707 movie reviews
  1. A formally elegant, subtly savage and powerfully affecting film.
  2. Ray
    If there were an Oscar for ensemble acting, Ray would win in a stroll.
  3. The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.
  4. Embrace the movie -- surely the most vivid and persuasive creation of a fantasy world ever seen in the history of moving pictures -- as a total sensory, sensuous, sensual experience.
  5. The actor (Puri) and the film make something fine, winning and memorable.
    • Time
  6. Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
    • 80 Metascore
    • 90 Critic Score
    Arrietty brings the same magic to the mundane, elevating the ordinary confines of everyday life into sumptuous surprises. And while Arrietty lacks the sweep of "Spirited Away," "Princess Mononoke," or "Nausicaä of the Valley of the Wind," it preserves all the trademark sensitivity to the emotional turmoil of adolescence.
  7. Ramsey's film has its own strengths. We Need To Talk About Kevin doesn't just bring you to the outskirts of a parent's worst nightmare; this fever dream of guilt and loss takes you straight inside.
  8. Has a whirligig wit, and 11 songs crammed into its 67 minutes: that's more melodic content than in most Broadway musicals.
    • 80 Metascore
    • 90 Critic Score
    In an age of post-Christian facetiousness, Martin Scorsese's work daringly attempts to restore passion and melodrama to the Gospel story. Protests notwithstanding, the film is an affirmation of faith in the power of both the Gospel and the movies.
  9. Seems to encompass all the humor, sadness and weirdness of ordinary life in an utterly winning, morally acute way.
  10. Like Harry and Sally, the movie is hardworking, spot on; it winepresses its conversation into epigrams. No surprise here.[31 July 1999, p.65]
    • Time
  11. It's a deceptively small piece of onscreen art that resonates afterward with such insistence that I felt positively nagged by it.
  12. Altogether wondrous.
  13. Green shoots his groping lovers in the art-film style -- long takes, static frame -- but his tone isn't at all minimalist; it's achingly, breathtakingly romantic, like the old Hollywood love stories his kids have never seen.
  14. Not just a ripping yarn but a powerful, poignant coming-of-age story.
  15. Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.
  16. It proposes that you can make an extraordinarily satisfying comedy without writing a joke. Subtly played and elegantly directed, this is an Adults Only movie in the best sense of the term.
    • 68 Metascore
    • 90 Critic Score
    Kubrick’s masterpiece moved so slowly that it was something of an endurance test, even for avid sci-fi fans. Europa Report, by contrast, is brisk, thrilling and ultimately terrifying. And unlike 2001, it’s (mostly) grounded firmly in one of the most exciting areas in modern science.
  17. So, for those of you who were wondering if a great TV show could top itself at feature-film length, the good news is that The Simpsons did it! But "South Park" did it first.
  18. Maybe these lives are, objectively speaking, inconsequential. But they have a resonance that big, sappy "relationship" pictures ought to envy.
  19. Japanese Story is a simple, austerely told tale. But there is something memorable, even haunting, about it.
  20. 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.
  21. Pixar's improved computer animation is up to all the demands of this excellent adventure.
  22. The sweetest and funniest of Guest's true-life fake-umentaries.
  23. The result is a harrowing film, impossible to "like" in any conventional way, hypnotically impossible to turn away from.
  24. Elegantly made, romantically doomy, curiously affecting movie.
  25. This is rapture in pictures. [22 December 1997, p. 81]
    • Time
  26. 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
  27. 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.

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