Time's Scores

For 1,870 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: 65
Highest review score: 100 Creed
Lowest review score: 0 W.E.
Score distribution:
1870 movie reviews
  1. In standard-narrative terms, Daybreakers suffers from tired blood. No question the Spierigs are prime film imagineers. What they needed here was a director.
  2. All these roles could have been found at a garage sale of comedy stereotypes. To the extent that 50/50 works, it is because of Gordon-Levitt, one of my favorite actors.
  3. The blend of fairy-tale sentiment and knowing irony worked exactly once, in "The Princess Bride," and fails here. But there's enough visual ingenuity - eye candy, if you will - to make this Hansel & Gretel an intermittently tasty temptation.
  4. AP2 starts out bright and clever--shagnificent, we might almost say--before sinking into a swamp of shagnation.
    • Time
  5. Ends up less than the sum of its many, often interesting parts.
    • Time
  6. 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.
  7. This is a good-natured retro romp that is truer to Golden Age movies than to golden oldies songs.
  8. 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.
  9. Our response to the ape's doom, once touched by authentic tragedy, is now marked by relief that this wretchedly excessive movie is finally over.
  10. It is a tremendous downer when the second half of the movie shirks logic, defies its own established principles and raises more questions than it answers.
  11. 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.
  12. Well acted and, within its limited terms, well made, Gallipoli represents a failure of nerve as well as design.
  13. A wildly flawed but fitfully diverting picture.
  14. The result is a well-tooled machine chugging coldly along a twisting road to nowhere.
  15. It's a clever idea that, around the mid-point, stumbles into absurdity as the movie itself makes too many lunatic choices.
  16. She (Blanchett) seems the only guardian of sanity in this good-old-boy Bellevue.
  17. The pulse of Curtis Hanson's direction is lethargic; the comic bits are so slack and deadpan you could mistake the film for an earnest drama--an Afterschool Special for troubled kids and their pooped parents.
    • 56 Metascore
    • 50 Critic Score
    The film is handsomely mounted and well played (particularly by the always magical Binoche--such a wonderfully alert actress), but somehow it never draws one into its schemes.
  18. Keough is nearly worth risking life (Diane's) and limb (Martin's) for. The eldest grandchild of Elvis and Priscilla Presley, she has a pale, dreamy lusciousness that puts as viewer in mind of Amanda Seyfried, though without the overt sexuality. Her not-quite-there appeal matches both the opacity of Martin's intentions and the entire underhanded, underwhelming experience that The Good Doctor offers.
  19. It's no wonder the movie is no walk in the park, even with a pretty soundtrack by Badly Drawn Boy (again, like About a Boy). It never feels inspirational - it's too gritty and dark - and there isn't a single easy solution in sight for either Nick or Jonathan.
  20. The result is a knockoff cinematic ceramic.
  21. It's strenuous, smartly-made and ordinary to an extraordinary degree.
  22. For all the menace of its techno-prattle, its implicit boosts for humanism and its swell production design, the picture is finally a bore. Sci-fi was more powerful when its special effects were cheap and crude, its ideas simple but potently stated.
  23. Unfortunately, Girl in Progress doesn't upend anything; it just makes us weary of its wisecracking, oblivious teen and her ditzy mom.
  24. Diverting without being fully absorbing, this is a film best appreciated as an exercise in--shall we say it?--Primal Gere. [15 Apr 1996, p.100]
    • Time
  25. I'll stipulate that in Austen's time spinsterhood was a fate to be strenuously avoided. And being a woman writer was by no means an easy path either. Yet, she embraced it, and the immortal results more than justify a hard choice this film never really explores.
  26. 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.
  27. Corelli is a coffee-table movie: one leafs through the gorgeous vistas and nods through the narrative.
    • Time
  28. A watchable film, but it -- and its star -- might have done so much more.
  29. Can The Hunger Games, in the movie version directed by Gary Ross, successfully navigate the crossing from page to screen? Our answer: Eh.

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