Time's Scores

  • Movies
  • TV
For 1,682 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 Reversal of Fortune
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,682 movie reviews
  1. The net result of this mighty effort is perhaps predictable: near total inconsequence.
    • Time
  2. As the director of this noble weepie, Nelson so overuses visual tricks -- zooms, zip pans and multiple perspectives on a simple scene -- that she turns the viewer into an exasperated parent; this is a directorial style in need of a spanking.
    • Time
  3. The result is tiresome and tone-deaf and a disappointing comeback for Bogdanovich.
  4. The film (directed by Andy Tennant) has more problems than Melanie, and they're insoluble. Its lazy calculation telegraphs each plot turn and underlines emotions with corn-pone music.
  5. The story has to carry way too much weight, as war remorse battles McCarthyism. The Majestic's makers don't get what made Capra movies invigorating.
    • Time
  6. An idiot-savant movie, knowing but not smart.
  7. In this space epic, no one will hear you laugh.
  8. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  9. The film is one-note; misery is the only game in town.
  10. Lee must have thought he could work a similar magic on this clunking, clanking machine. But despite a few witty wipes and split-screen tricks, he fails. Hulk is no better than hulking.
  11. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  12. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
  13. It yearns for Pixar-style wit without quite earning it.
  14. Arcand has a gift for witty dialogue but a weakness for force-feeding his story with sentiment. References to ancient holocausts and to 9/11 simply expose the intent of a director who will do anything to touch his audience -- with a sweet gesture or a cattle prod. And in a comedy of manners, that behavior is very impolite.
  15. The film fairly groans from all the narrative gamesmanship and lavish romantic gestures...The unbewitched viewer may groan as well.
  16. Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
  17. Dispassionate, curiously lifeless, lacking the energy of either youthful commitment or a deeply engaged re-examination of the past.
  18. Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
  19. The weather is always inclement, the protagonists are all muddy when they're not bloody, King Arthur's Christianity is muscular but joyless, and Guinevere is often daubed with blue paint. No, folks, we're not in Camelot anymore.
  20. Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
  21. Tin tailspins into silliness and never regains its flight pattern.
  22. When our sympathies shift to [Cameron Diaz's Kimmy], the movie sours. It is no help either that Ronald Bass neglected to write (or Mulroney was unable to find) a character in Michael. Why all this fuss over this lox, we keep wondering.
  23. Bewitched means to be a civilized entertainment, which occasionally it is. But the gentility of this antique sitcom cannot be recaptured at this late date.
  24. But that's the thing about this movie. It never leaves well enough, or good enough, alone. It keeps looking--sometimes a little too hard--for ways to transform the ordinary into the discomfiting.
  25. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  26. Disney is trying to lure the disparate audiences of "Harry Potter and the Goblet of Fire" (kids) and "The Passion of the Christ" (Evangelicals). But on either level, Narnia fails. There's no fire, no passion and not much fun.
  27. A vampire story needs vampires, sure, but it also needs a human victim to lead the audience into the vortex and help them escape it. Otherwise, the fear factor evaporates, and you get this mishmash: an interview in a void, a vampire movie with underbite.
  28. For a viewer sympathetic to Schwarzenegger's and Cameron's best selves -- the ironist with muscles and the mordant fabulist -- True Lies is a loud misfire. It rarely brings its potent themes to life.
  29. Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
    • 35 Metascore
    • 40 Critic Score
    Because director Adrian Lyne takes all this so slowly and seriously, Indecent Proposal is an inadvertent comedy. As such, it is much funnier than "Honeymoon in Vegas", which tried in vain to be funny about the same idea.

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