Time's Scores

  • Movies
  • TV
For 1,706 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 The Man Who Wasn't There
Lowest review score: 0 Billy Madison
Score distribution:
1,706 movie reviews
  1. The movie lacks majesty. Grand in parts, the movie is too often grandiose or grandiloquent; and the running time is indefensible.
  2. Sensitive souls in search of wrenching emotion can be guaranteed their Kleenex moments; you will get wet. But aside from that opening scene, you will not be cinematically edified. This is a bad movie.
  3. Even when the film is cool, it manages to be wrong.
  4. The archivist's meticulousness with which this movie was assembled defeats the starving-hysterical-naked urgency of its source material. Could the old Hollywood pharisees have been right? Maybe On the Road is unfilmable.
  5. As the movie goes on, the laughs are fewer and farther between, and for the last 30 minutes, not only did I not laugh, I wanted it to end so I could get back to my own boring but less precious life.
  6. 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.
  7. The man (Sparks) is a cultural magpie, capable of borrowing from a 1991 Julia Roberts flick and M. Night Shyamalan in one fell swoop. He’ll never get an award for originality, but when it comes to rehashing formula and pleasing his audience, the man is a master.
  8. The technology is undeniably there to make a credible beanstalk fly into the heavens, and giants that are utterly grotesque and vividly threatening. But how about something we can take our kids too? Doesn’t anyone want them to be there?
  9. Raimi, who launched his career with the cheapo horror mini-masterpiece "The Evil Dead" before helming the blockbuster "Spider-Man" trilogy, can’t infuse the story with much verve or joy.
  10. Ginger & Rosa never matches the freshness of its young star.
  11. It’s "Identity Thief" with flying piranhas, or Plains, Trains & Automobiles on foot.
  12. In space, Jack hopes, someone may hear you dream. But in a movie theater, no one will see you yawn.
  13. X-Men Origins: Wolverine is an O.K., not great, Marvel movie...Wolverine doesn't rise above the level of familiar competence.
  14. You get 45 minutes of awesome encased in 90 minutes of yawnsome.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. A wildly flawed but fitfully diverting picture.
  22. 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.
  23. 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.
  24. 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.
  25. Tries anything for a gross-out laugh — but feels oh-so-familiar
  26. It’s a bit of a botch.
  27. 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.
  28. 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.
  29. Though we still believe that Lawrence, who turned 25 in August, can do no wrong, she isn’t given much opportunity to do anything spectacularly right here. Her performance is a medley of sobs and gasps, in mournful or radiant closeup. This time, her Katniss is as much a prisoner of her circumstances as Peeta is. She and the movie are both victims of burnout.
  30. The joke barrage becomes hit-or-miss, as if the creators — including screenwriter Dan Stewart, working from a story by Rogen and Greenberg — don’t know or care which is which.

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