Time's Scores

For 1,935 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: 66
Highest review score: 100 Cold Mountain
Lowest review score: 0 Cocktail
Score distribution:
1935 movie reviews
  1. The Keane story is a rich parable that deserves either a wilder or a more acute telling than Burton provides here.
  2. By the end-credit sequence, when the stars appear in spandex outfits to reprise Dancing Queen, the audience may be singing along as if they'd overdosed on ouzo.
  3. There's something refreshing about its utterly unembarrassed embrace of the familiar. The director, George Tillman Jr., either doesn't notice or doesn't give a hoot about the way Scott Marshall Smith's script piles up cliches.
  4. As shot by the gifted cinematographer Seamus McGarvey, Nocturnal Animals is beautiful—or at least arresting—every minute, and it sure isn’t boring. But it’s unclear exactly what Ford is trying to say, though it’s clear he’s trying hard to say something. And that’s the most frustrating thing about this picture.
  5. Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
    • 64 Metascore
    • 60 Critic Score
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
  6. Provides the familiar cheap thrills but with a salsa tang.
  7. Lowery stumbles, working too hard to squeeze a response from us.
  8. This is what lifts Seven Pounds above other Smith dramas -- he does tentatively allow another adult onto his solitary planet.
  9. The Lady is still titled away from the churning melodrama of Suu Kyi's country and toward the intimate dilemma of a loving couple forced apart by circumstance.
  10. It is the rare conspiracy thriller that ripens as the villains' organization and motives are gradually revealed.
  11. It is very tiresome peering through the gloom trying to catch a glimpse of something interesting, then having to avert one's eyes when it turns out to be just another brutally tormented body.
  12. Inside this failed picture there’s a sicker, darker, more truthful one crying to get out. But for a while, Passengers is really going for something. The movie it might have been is lost in space, alone, never to be seen by mere mortals. All we can see from Earth are its few brightly burning scraps, but at least it’s something.
  13. There are a reserve and a realism in Huston's work that make her very modest film more affecting than you might expect.
  14. The Birth of a Nation isn’t a great movie – it’s hardly even a good one. But it’s bluntly effective, less a monumental piece of filmmaking than an open door. Parker stars as Turner, and his performance is grounded and thoughtful – he may be a better actor than he is a director.
  15. The film's payoff raises more questions than it answers, which may be Shyamalan's intent in this political parable of fear.
  16. The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
    • Time
  17. Hanks has a wonderful scene, late in the film, that shows a strong man collapsing into frailty. It hints at the emotional depth the movie might have plundered. The rest of Captain Phillips must rely for its drive on the relentless mechanical agitation of Henry Jackman’s score. It can’t save an overly muscled docudrama that is more pounding that truly gripping.
  18. Uneven but occasionally quite funny.
  19. This film, based on a true story, transcends its handsomeness to present a subtle portrait of a woman's growing consciousness.
  20. It should make audiences happy. But then so did most of his earlier movies, and they were lame, gnat-brained pieces of demagogic doo-doo!
  21. This material is either underdeveloped or crudely put by a director whose style is so conventional that he makes James Ivory look, by comparison, like Jean-Luc Godard.
  22. A lot of the gags are pretty good. It's not that Star Wars is less worthy of satire than horse opera or gothic horror. It's not that Mel Brooks has lost his cunning, though he does need a freedom of speech not to be found under a PG rating. What's missing is that zany old gang of his. There is simply nobody like them on this trip. [13 July 1987, p.68]
    • Time
  23. Christie has already won prizes for the knowing weariness of her performance, and Flynn Boyle probably deserves some for her ferociously stated frustrations. But their clarity can't quite cut through the thickness of the film's air or compensate for the wooziness it induces.
  24. Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.
  25. Guys and gals from the first film, now thicker and with incipient crow lines, pair up in more or less the same permutations as when they were young and shiny. The movie's message is that the way to face impeding maturity is to embrace your inner teen idiot.
  26. Unlike the original, Paranormal Activity 2's pacing is uneven; it builds slowly and effectively before rushing too quickly, and at one point not particularly coherently, through the climax. But the jolts, when they come, are bigger, causing actual physical thrills and chills, at least for me.
  27. Rumble Fish is the messiest, most provocative inkblot of the year.
  28. I think Gonzo, which is wonderfully rich in historical footage, needs some skeptics, some voices suggesting that maybe, just maybe, Thompson was part of the problem, not the solution, when America flirted briefly with revolution (or was it merely anarchy?), leaving consequences that continue to resonate today -- and not always to our advantage.
  29. Anchorman 2 is more like SNL in the sharper years (1995–2002), when McKay was a writer and Ferrell one of the Not Ready for Prime Time Players. Expect no more and you should be satisfied. Wine connoisseurs would call this a new Burgundy with an old bouquet.

Top Trailers