Time's Scores

For 1,759 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 Cinema Paradiso
Lowest review score: 0 Untraceable
Score distribution:
1759 movie reviews
  1. Apparently Bachelorette has been divisive, with audiences either falling hard for it or walking away disgusted. I'd have fallen harder for it if I'd walked away more disgusted.
    • 36 Metascore
    • 50 Critic Score
    There's no denying that Pan is one ambitious fairy tale. But what's being labeled a "wholly original adventure" feels far from new, never mind necessary.
  2. The film, though, lies dormant in its own decency.
  3. Tries anything for a gross-out laugh — but feels oh-so-familiar
  4. Warrior's three principle characterizations are compelling - Nolte in particular gives a tempered performance as the shambling, sad-eyed wreck of a dad - but not enough to mask the film's lesser elements.
  5. It's only when it takes an unfortunate wrong turn from playful wit into the dramatic and sentimental - Hallström's speciality - that the movie starts to unravel.
  6. In terms of quality, though, Argo is just so-so.
  7. 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.
  8. You get 45 minutes of awesome encased in 90 minutes of yawnsome.
  9. Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
  10. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  11. It is a daring thing the director has done, this bleaching out of all the cheap thrills, this dashing of all the hopes one brings to what is, after all, advertised as "a masterpiece of modern horror." Certainly he has asked much of Nicholson, who must sustain attention in a hugely unsympathetic role, and who responds with a brilliantly crazed performance.
  12. No deep thoughts here; this is a product of shiny surfaces and glittering patter, the cinematic equivalent of a derivatives offering. Instead of whacking Wall Street, Stone gives it a poke that ends up as a tickle.
  13. Dawn Treader, the name of the ship in the story, should here be rechristened Yawn Treader. If this movie were a bedtime book, the wee ones would be asleep by page two.
  14. Shaggily amusing but familiar and way-too-long.
  15. X-Men Origins: Wolverine is an O.K., not great, Marvel movie...Wolverine doesn't rise above the level of familiar competence.
  16. It's a faux epic -- swell costumes, historically authentic settings, a certain amount of bustle and skulking, but very little dramatically gripping activity.
  17. Though the movie is no more than agreeable, it does provide a swell showcase for New Zealand wundercomic Rhys Darby (Murray the hapless agent on HBO's Flight of the Conchords) and gives the astrally adorable Zooey Deschanel a rare shot at a lead role in a big Hollywood movie.
  18. Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
    • Time
  19. Instead of exploring something bigger, like the origins of Bernie's need for the company of elderly ladies (which Hollandsworth touched on in Texas Monthly; Tiede lost his mother at age 3 and his father at 15), Linklater limits the story and mood to black comedy.
  20. After a while, Nine plays like some Hollywood charity revue.
  21. Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
  22. The film also serves as the clearest statement of Glee's sacred mission. Through it, we can see how the entire multimedia phenomenon - the show, the albums, the iTunes hits, the recent concert tour and now this movie - has accrued the odor, say the incense, of a secular religion.
  23. Harris and Mastrantonio do have a strong death and resurrection sequence, but long before that, one is pining for a rubber shark or a plastic octopus -- anything, in fact, out of a good old low-tech thriller. [14 Aug 1989, p.79]
    • Time
  24. 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.
  25. The Change-Up tries so hard to be scandalous that it's a shame it doesn't do more to change up the formula.
  26. Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
  27. It's as if everyone was just a little too much in tasteful awe of its subject, who is played rather stolidly by Nick Nolte.
  28. How well do Bond's established conventions survive after a third of a century's hard use, the post-cold war deglamourization of espionage and the arrival of yet another actor in the central role? The short answer is, on wobbly knees.
  29. The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time

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