Time's Scores

  • Movies
  • TV
For 1,690 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 War Horse
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,690 movie reviews
  1. You get 45 minutes of awesome encased in 90 minutes of yawnsome.
  2. Blue Jasmine is the 77-year-old auteur’s first flat-out non-comedy in a quarter century — since "Another Woman" and "September" in the late ’80s, and back to "Interiors" in 1978. Like those more somber studies, this is a portrait of a woman in extremis. But a view from afar: Allen observes Jasmine’s allure and disease without penetrating her soul. That makes for a movie that is both intimate and disinterested, as if Jasmine were a flailing insect in a barren terrarium.
  3. Kutcher, whose acting chops haven’t been tested in all those pretty-boy lead roles, was a welcome surprise. His movie-star glow distracts, but there is a strong physical resemblance. Moreover, he’s got many of Jobs’ mannerisms down cold, from that T Rex–like walk to the fingers that fan the air and the yoga-style postures left over from his bohemian youth. It’s a good impression, but Jobs itself is all too impressionistic.
  4. Like Martin Scorsese’s "The Departed," a bloated Americanizing of the Hong Kong cop movie "Infernal Affairs," the Lee Oldboy will startle newbies with its story ingenuities and morbid revelations, while leaving connoisseurs of the source film wondering why Hollywood couldn’t have left great enough alone.
  5. By buying the pitch that its central character’s escapades were the stuff of mesmerizing drama or comedy, Scorsese, Winter and DiCaprio reveal themselves as dupes — the latest in a long line of clever folks swindled by Jordan Belfort.
  6. Ambitious of vision and swooping of camera, I, Frankenstein is no "I, Robot," let alone "I, Claudius," but it’s definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
  7. If the movie had been content to replicate the Taken formula, and left the fatherhood angle as a subtext, it would be easier to take. Instead, even for Costner admirers, it’s a hard 2 hours to kill.
  8. A wildly flawed but fitfully diverting picture.
  9. Shot in grainy, unflattering closeups occasionally alleviated by flashily edited fight scenes, Non-Stop is no more or less than what it intends to be: the kind of midlevel brainless entertainment you might watch, between meals and naps, on an international flight. Try to enjoy the ride — and no texting, please.
  10. A little less agreeable and way more aggressive than its better begetter, Rio 2 has the overstuffed agenda of a movie that’s been focus-grouped to death.
  11. Clever ideas early on go rogue, or go missing, in the gallop toward an action-film climax that then, perversely, doesn’t materialize. The movie’s intelligence is artificial, its affect solemn.
  12. Tries anything for a gross-out laugh — but feels oh-so-familiar
  13. It’s a bit of a botch.
  14. The Hundred-Foot Journey is on a mission to make you cry. Whether you oblige will depend on your fondness for, or immunity to, the gentler stereotypes of movie romance.
  15. So put it this way: If the Altmans were a real family sitting shiva, I’d drop by to commiserate and give a cheek-kiss to a few of the mourners (Bateman, Driver, Fey, maybe Fonda). I enjoyed seeing them, but I’d hate to be sentenced to being with them for the full seven-day stretch.
  16. The first few minutes have promise (with an all-star list of Gen-X actors), and the last few minutes provide fun (with snapshots of lovers and losers). In between there is a void--feeble jokes, a lot of falling down and foolish declarations.
  17. The skitcom format soon becomes tiresome.
    • Time
  18. Mostly the movie is like the marriage: good casting, golden promise, yet somehow a grating ordeal.
    • Time
  19. It's too empty to applaud, too insignificant to deplore.
  20. A movie this implausible shouldn't be this dull.
  21. The actors, especially the ever appealing Smith, do what they can to ground the movie in reality, but it stubbornly remains dawdling, remote and pretentious.
  22. It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
  23. Things finally work out all right--except for audiences, who will find this thin movie bereft of the more richly textured sentiments of Tornatore's "Cinema Paradiso."
  24. Not a bad concept, and Martin Lawrence is appealing. Unfortunately, the writers have no gift for comic writing.
  25. The film finally collapses under the burden of implausibility.
  26. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  27. Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
  28. O
    On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
  29. Maid in Manhattan is not so much a movie as a collection of career moves. J. Lo needs a comedy hit to support her principal activity, adorning magazine covers. Fiennes needs to warm his austere British image if he hopes to become a true international star.
    • Time
  30. Donen got it gloriously right the first time. Why do it again? And why do it like this?

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