Time's Scores

  • Movies
  • TV
For 1,725 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 Gravity
Lowest review score: 0 The Women
Score distribution:
1,725 movie reviews
  1. 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
  2. Deadfall, though, is a thing of pieces: splendidly efficient in its action sequences (car crash, knife fight, snowmobile chase), dawdling in dialogue scenes that should smolder with tension.
  3. This reflects its fundamental flaw of arrogance, a smug faith in the ability of its own speed, smartness and luxe to wow the yokels.
  4. The Love Guru is a shambling, hit-or-miss thing, like an old Laurel and Hardy two-reeler. And like the situations those comics often got into, this movie is a fine mess.
  5. Suspense isn't Burns' thing though, and it may be foolish to even ask for it this far into his career. Burns has made it crystal clear what his style is: lots of chatty, mostly amiable folks, working out their not so troubling differences in the greater New York metropolitan area.
  6. The overall tone is familiar, refried, redundant.
  7. Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
  8. The movie lacks majesty. Grand in parts, the movie is too often grandiose or grandiloquent; and the running time is indefensible.
  9. Bad Teacher revels in being distasteful. But it can't just let a bad woman be bad; she also has to be burdened with physical insecurity, even if it makes no sense. Can you imagine if Billy Bob Thornton's character had become Bad Santa so he could steal to fund his penis implant?
  10. This cutesy film is overwhelmed by a sense of forced farce.
  11. I think the central mistake of this film derives from its lack of irony, a sense it refuses to impart that the world may not be exactly as the zealous Christopher perceives it to be. The film needs at least to entertain the possibility that its protagonist was driven less by high principle than by lamentable screwiness. And we need to leave it carrying some sense of tragic consequence with us. Instead, we're simply glad to be finished, at last, with this annoying man-child.
  12. Morris's manner of relating this story is very often quite inappropriate to its substance. It is a sordid and appalling tale and what it demands is almost an anti-style -- rough, crude, grim, technically poor imagery unrelieved by sleek, slick fancy work. If you are going to rub our noses in this ugliness, you must not let up until, perhaps, we have learned our lesson.
    • 14 Metascore
    • 50 Critic Score
    Given its budget, the quality of its writing, acting and production is remarkably high--about miniseries level.
  13. At least in a video game the player decides who needs to be killed, and what trail to take in the labyrinth. The Max Payne moviegoers are passive hostages on a long ride they've taken so many times before.
  14. Even when the film is cool, it manages to be wrong.
  15. Curiously, if fitfully, intriguing.
  16. To make something like Firewall good, you have to make it at least a little bit new--or add more than an unending patter of rain and techno-talk.
  17. What's true about The Perfect Storm is true of many effects epics: it's not a bad movie, except for the people.
  18. What plot it has is borrowed, improbably, from Henry IV, and whenever anyone manages to speak an entire paragraph, it is usually a Shakespearean paraphrase. But this is a desperate imposition on an essentially inert film. [28 Oct 1991]
    • Time
  19. This Mummy movie is really two movies: a good adventure epic, with all the Chinese people, and a wan one, with O'Connells and the other the Westerners.
  20. One of those shaggy-dog stories that you keep hoping will get sharper, smarter, cooler, more worthy of its star. Buscemi may not be exactly celestial, but he still deserves better.
  21. 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.
  22. I have the anachronistic notion that romantic comedies needn't be exclusively partial to one gender; they should be critical and loving and true to both. So I'll soldier on with my mixed, distant, defiantly ignorant review of this 142-minute trifle -- which comes close to being the longest non-musical romantic comedy in Hollywood history.
  23. 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.
  24. Like most children's movies, Rise of the Guardians mimics the patterns of adult entertainment. Where is the magic in that?
  25. Apart from some spiffy visual effects, which create coherent, scary textures and architecture for outer space, Green Lantern is the most generic of summer time wasters.
  26. You are hereby absolved of all guilt when you laugh your ass off in the first half of the film.
    • Time
  27. The first Rush Hour was a pretty good movie, the second one pretty lame. The threequel is somewhere in between: nothing special but with a high amiability quotient. The two stars know they click; it's no crime for them to extend and exploit that good vibe one more time.
  28. Randy and giggly, this is a femme version of "The Man Show."
  29. I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.

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