Time's Scores

  • Movies
  • TV
For 1,698 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 The Man Who Wasn't There
Lowest review score: 0 Showgirls
Score distribution:
1,698 movie reviews
  1. Things finally work out all right--except for audiences, who will find this thin movie bereft of the more richly textured sentiments of Tornatore's "Cinema Paradiso."
  2. Not a bad concept, and Martin Lawrence is appealing. Unfortunately, the writers have no gift for comic writing.
  3. The film finally collapses under the burden of implausibility.
  4. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  5. Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
  6. O
    On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
  7. Maid in Manhattan is not so much a movie as a collection of career moves. J. Lo needs a comedy hit to support her principal activity, adorning magazine covers. Fiennes needs to warm his austere British image if he hopes to become a true international star.
    • Time
  8. Donen got it gloriously right the first time. Why do it again? And why do it like this?
    • 86 Metascore
    • 40 Critic Score
    The movie lets down the material. It's to cool: all attitude, no sizzle.
  9. Sells out real satirical possibilities to its marketing potential as teen fluff. Everyone loses -- except Hedaya, who keeps faith with his character's nutsiness.
  10. Will the movie end in an orgy of sentiment? Why do we bother to ask?
  11. Kasdan has been a serious filmmaker, so he gives the goofiness a smart look and some pertinent metaphors about Americans wrongfully detained. But the aim is no higher than the impulse of old schlockmeisters like Roger Corman and Ed Wood: to get the audience to scream.
  12. Loutishness without self-awareness remains loutishness--and it is finally depressing.
  13. All attitude and low aptitude.
  14. Doesn't offer much.
  15. The net result of this mighty effort is perhaps predictable: near total inconsequence.
    • Time
  16. 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
  17. The result is tiresome and tone-deaf and a disappointing comeback for Bogdanovich.
  18. 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.
  19. 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
  20. An idiot-savant movie, knowing but not smart.
  21. In this space epic, no one will hear you laugh.
  22. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  23. The film is one-note; misery is the only game in town.
  24. 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.
  25. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  26. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
  27. It yearns for Pixar-style wit without quite earning it.
  28. 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.
  29. The film fairly groans from all the narrative gamesmanship and lavish romantic gestures...The unbewitched viewer may groan as well.

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