Time's Scores

For 1,799 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 Hannah and Her Sisters
Lowest review score: 0 Two of a Kind
Score distribution:
1799 movie reviews
  1. The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
  2. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
  3. Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
  4. Their sweet, determined, gently understated struggle for fulfillment in a superstitiously conservative society makes this densely, deftly packed movie a quiet joy to behold.
    • 82 Metascore
    • 90 Critic Score
    What happens is not the substance of Manhattan as much as how it happens. The movie is full of moments that are uproariously funny and others that are sometimes shattering for the degree in which they evoke civilized desolation.
  5. Beautiful Girls is always in touch with reality but never drowned in it. [19 February 1996, p.64]
    • Time
  6. It is vigorous, subtle, thematically daring, visually gorgeous.
  7. [Salles]'s imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting.
  8. One thinks of the great opening line of that great novel The Good Soldier: "This is the saddest story I have ever heard." Like many such tales, this one is worth taking to your aching heart.
    • Time
  9. Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
  10. Everybody Wants Some!! is a seemingly straightforward picture that’s surprisingly stealthy in capturing the joy and exaltation of being an almost-adult but still feeling young, of messing around and messing up, of waiting and hoping for the chance to meet a guy or girl you really like.
  11. Can a movie have too much good stuff? Not when it's stuffed like this one.
  12. An exhilarating two hours of serious fun.
    • Time
  13. Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.
  14. The Trip may have familiar elements - it's pretty much "My Dinner With Andre" pinned to the plot of Alexander Payne's "Sideways" - but the badinage provides an immediate and lasting kick, as well as the spectacle of two champion combatants at the top of their game.
  15. The movie is ridiculously over the top, inelegant and so defiantly ?crazy?that it works, reminding you how fun gore and creatures that go bump ?(and? grind) in the night can be. It's a sci-fi horror film, but no actual ?comedy?has made me laugh as much this year as Splice.?
  16. A performance like De Niro's, in a well-made entertainment like Midnight Run, is cheap at any price. And capable of restoring the audience's faith in the form. [25 July 1988]
    • Time
  17. Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
    • Time
  18. Not since "This is Spinal Tap" have I had such a good time watching amiable idiocy stumble on toward uncertain glory.
  19. In its soft-spoken way, it is fierce, shaggy and deeply weirded out.
  20. Both horrifying and hopeful.
  21. A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
    • Time
  22. Droll, reticent, flawlessly filmed fable of generosity.
  23. This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
    • Time
  24. Indeed, you could argue that Tell No One is a variant on one of Hitchcock's favorite themes: the running man whose story no one (except us in the audience) believes. These fictions, of course, depend for their success on the French respect for rationalism (and their horror when reason is torn asunder by criminal irrationality).
  25. Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.
    • Time
    • 89 Metascore
    • 90 Critic Score
    Terse is the word for Eastwood's directorial style. It rarely editorializes; it doesn't emote or orate. It just tells the damn story of a soldier's honor, which means doing the job no matter the odds--indeed, no matter the mission.
  26. If The Hobbit doesn't equal the achievement of Jackson's earlier Middle-earth movies -- and, honestly, what could? -- it is still, in sum, a thrilling effort.
  27. McKay approaches this adaptation of Michael Lewis’ book with wit, energy and a surprising degree of clarity. But if the movie is a crackerjack entertainment, it’s one with a conscience.
  28. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time

Top Trailers