Time's Scores

  • Movies
  • TV
For 1,715 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Atanarjuat: The Fast Runner
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,715 movie reviews
  1. A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.
  2. It features as ghastly a group of interstellar pirates, the Klingons, as ever entered the star log, plus a spectacularly self-destructive planet and plenty of technically adroit and sometimes witty special effects. These are classic directorial occasions, and Nimoy rises to them with fervor, in effect beaming his film up onto a higher pictorial plane than either of its predecessors.
  3. A modestly mounted, but curiously poignant little documentary... which somehow -- quietly, devastatingly -- shows and tells you more than you may perhaps want to know about the dehumanization implicit in the mighty, blighted Iraqi adventure.
  4. It has everything you want in an epic: sweep, scope, wild reversals of fortune and plenty of bold, basic emotions.
  5. Murphy, abetted by director Tom Shadyac and a whole raft of writers, cannot entirely escape the curious blend of aspiration and sloppiness that marked the earlier film.
  6. For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  7. Fetching little monument to the bard of rapturous bereavement.
  8. She's (Jolie) got what no other Hollywood woman even tries for, and which is embodied among recent international stars perhaps only by Hong Kong action star Michelle Yeoh: feminismo.
  9. Writer-director Ramsay neither sentimentalizes nor garishes up the lost children in this observant and poetic drama.
  10. Damon, beefed up for the occasion, makes Pienaar a stalwart yet courtly figure. Freeman infuses Mandela's speeches with the same gentleness and gravity he's brought to his numerous God roles and the Visa Olympics commercials. But the real deity here is Eastwood, still chugging away handsomely in his 80th year.
  11. Niftily quirky.
    • Time
    • 74 Metascore
    • 80 Critic Score
    What's most captivating about Monster is that the camera never looks away and Metallica never hides.
  12. Occasionally succumbs to Mika's legato rhythms, but it is more often a sly, subtle comedy about the oh-so-gentle art of murder.
  13. It's a real and rare pleasure to see Costner and Duvall together -- these masters of intense passivity, who know how to be watched when they're listening.
  14. And while more than 30 writers worked on the screenplay and untold numbers labored to re-create the ambiance and effects that the animators once tossed off with a few squiggles of their pencils, The Flintstones doesn't feel overcalculated, over-produced or overthought.
  15. A raw, unblinking film. It teaches that in dire circumstances our only obligation is to our own survival; all else -- culture, ideology, even love -- is a dispensable luxury.
  16. Isn't an audience that was nurtured on the doomsday screeds of art-house cinema entitled to vacation in the warmth of a superior film about a boy with almost too many people to love?
  17. Maybe they’re all right. Or wrong. It can’t be settled. What matters is that people are still crazy about the beauty of a beautiful movie about going crazy.
  18. Little Children does not have quite the bleak discipline of Field's more keenly judged "In the Bedroom." Yet it is a more ambitious film and a considerable achievement.
  19. Well-made fictions like Fatal Attraction prosper because they seem more persuasive than fact.
  20. No kidding: this is the feel-good movie of the year and a cinematic soul massage.
  21. As director, Farmiga is a strong believer in cinematic democracy, allowing the other actors to seize the center of the action and the frame.
  22. There is something brave and original about piling up most of our worst parental nightmares in one movie and then daring to make a midsummer comedy out of them. It really shouldn't work, but it does. The movie does not linger too long over any moment or mood, and it permits characters to transcend type, offering a more surprising range of response to events. [7 August 1989, p.54]
    • Time
  23. Quite a good movie--a big, fat, rousing, intelligent, daring, retro, many-adjective-requiring entertainment.
    • Time
  24. Like its title -- blunt, thruthful, uncompromising. It is hard on an audience, even harrowing. But that's exactly what Martin Scorsese was put on earth to do.
    • Time
  25. This remake hits the jackpot with Wasikowska (pronounced VashiKOVska) and, not far behind, Fassbender.
  26. In this vigorous, stalwart epic, they blend martial breadth and emotional intimacy, honor and obsession, romance and machismo to show the glamour and folly of war.
  27. Its major sin--a certain ineluctable improbability--is pretty much offset by the moments of winsome humanity Gibson finds for his freebooter; by the rich, nicely tuned portrayals of the other actors; and by director Ron Howard's smoothly professional mastery of yet another genre that is new to him.
  28. It's a bright, engaging bauble with half a dozen Elvis Presley songs for Mom and Dad, and just enough sass -- Stitch sticks his tongue into his nose and eats his snot -- to keep the tweeners giggling.
  29. A wry and moving look at a time in life that tends to get short shrift in U.S. cinema.

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