Time's Scores

For 1,995 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: 66
Highest review score: 100 The Lord of the Rings: The Two Towers
Lowest review score: 0 Collateral Beauty
Score distribution:
1995 movie reviews
  1. What Willis proves in Die Hard is that it is not one you can ease through, especially if your preparation runs more to body building than to character building. [July 25, 1988]
    • Time
  2. Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.
  3. Ask the Dust is the ghost of a cult novel; it can't bring itself to life.
  4. It’s "Identity Thief" with flying piranhas, or Plains, Trains & Automobiles on foot.
  5. The Accountant would be more entertaining if it just acknowledged its own nerdy outlandishness. Still, it’s something to watch Affleck play a man who has trouble expressing his feelings and struggles to read those of others.
  6. A movie that may be just a bit too pleased with its own artful bleakness.
  7. It's a feast for the eyes, but we're still hungry.
  8. Wanderlust, a comedy that looks way better than it actually is set amidst the dreck of late winter releases.
  9. Something more surprising might have been made of this odd couple, but Van Sant, emptily employing the realist manner of his early films, is goodwill hunting in all the wrong places.
  10. By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
  11. The joke barrage becomes hit-or-miss, as if the creators — including screenwriter Dan Stewart, working from a story by Rogen and Greenberg — don’t know or care which is which.
  12. That heart comes bursting out of Funny People, Apatow's intermittently engaging, 2 hr. 26 min. essay in schizo-cinemaphrenia.
    • 82 Metascore
    • 50 Critic Score
    What’s most difficult about Sorkin’s intricate fantasy is not acknowledging Jobs’ darkness, but setting aside all hope of seeing the real man who inspired it.
  13. The film's director, Kevin Macdonald, who did "The Last King of Scotland," is not a flair fellow. The chase scenes interpolated into this version have no special oomph; the encounters no residual kick. Paging Ridley Scott? Oh, sorry, too late. So there it is: another film that can't compete with a TV show.
  14. Even Galifianakis's pervy charm, and a deeply weird cameo by Mike Tyson, can't save The Hangover. Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon.
  15. Raimi, who launched his career with the cheapo horror mini-masterpiece "The Evil Dead" before helming the blockbuster "Spider-Man" trilogy, can’t infuse the story with much verve or joy.
  16. The new PG-13 movie is a fairly close adaptation of the Verhoeven, and lacks not just the earlier film's newness but its vigor, density, humor and R-rated juice. It's like the dinner-theater revival of a classic play, whose single asset is to remind those present how good the original was.
  17. Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
  18. What you will find is both familiar in its contours and unique in its casting: the definitive alterkocker action picture. Call it "The Old Dogs of War," or "Incontinent Basterds."
  19. At heart, though, the story is about the deep, complex, poignant love a man has for his daughter: it's the Lolita syndrome without the lust but with every bit of the doting possessiveness. [30 Dec 1991, p.71]
    • Time
  20. More a case history than a devious puzzle, the movie is like a story overheard from the next restaurant booth: for all your curiosity as to how it turns out, you're not likely to have much personal investment in the people.
  21. When it shifts into action mode, the movie can be a spectacular rush.
  22. It's because of AnnaSophia Robb's performance...I don't think you'll see a more fascinating and nuanced performance at the movies this year.
  23. Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
    • Time
  24. The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
  25. It's all so predictable. And you begin to wonder, as you so often do at the movies these days, why did they bother? And more to the point, why should we bother? [15 June 1998, p.72]
    • Time
  26. The result is that John Carter plays like an alternate, inferior version of "Avatar"…Plus fleeting hints of John Ford's "The Searchers" - for this is also a Western.
  27. In space, Jack hopes, someone may hear you dream. But in a movie theater, no one will see you yawn.
  28. Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.
  29. The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.

Top Trailers