Time's Scores

  • Movies
  • TV
For 1,715 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 Atanarjuat: The Fast Runner
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,715 movie reviews
  1. The movie is less ho-ho-ho than uh-oh, or oh-no. Emitting a stale odor from the first reel, Fred never engaged the audience of kids and adults that I saw it with.
  2. The Rite is all windup, weak delivery.
  3. Left-wingers in the mainstream media - by which I mean me - are supposed to lap up a movie that plays to our farm-loving, tree-hugging prejudices. But even we know that well-meaning does not automatically equal good movie. Some organic life is needed. And the only crop Promised Land harvests is Capra Corn.
  4. This isn't a love story, it's a misery story that drags on, not to a dramatic conclusion but a tepid moment.
  5. It's all mildly deplorable and instantly forgettable. Kevin James remains a potentially appealing movie star - if only he didn't have to be in Kevin James movies.
  6. There's a point at which movies become only merchandise, and the Paranormal franchise may be heading for that nexus, that nadir.
  7. 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."
  8. Donen got it gloriously right the first time. Why do it again? And why do it like this?
  9. A Pixar movie is always lively, and this might be the studio's liveliest (and loudest) yet - but its leanest in terms of warmth and heart.
  10. Inept works like Good, which remains, like most such works, on the anecdotal fringe of the problem.
  11. Dispassionate, curiously lifeless, lacking the energy of either youthful commitment or a deeply engaged re-examination of the past.
  12. 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.
  13. This is Meyer's worst offense - her disturbingly Victorian attitudes about sex and love, which this particular movie falls modestly in lockstep with, even though it concludes years of cinematic foreplay.
  14. So why is the Jersey Boys film a turgid botch? Eastwood’s résumé hints at a reason. His affinity is for American standards as improvised on piano or guitar by indigenous artists in smoky nightclubs, not for the tightly wound, impeccably pounding songs that Bob Gaudio and Bob Crewe wrote for the Four Seasons.
  15. 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.
  16. Stuff still leaps out of the screen -- the snake striking a victim, cars sent flying by Death Eaters -- but few things in the movie lodge in the audience's mind or heart.
  17. Watching this is like flipping channels randomly between a Masterpiece Theatre drama and a splatter film on Cinemax. If you're like me, you'll stick with the splatter.
  18. "Wanna see something really scary?" asks Guest Star Dan Aykroyd at film's end. The Miller and Dante episodes are. So is the epic waste that informs much of this movie. [20 June 1983, p.73]
    • Time
  19. The first few minutes have promise (with an all-star list of Gen-X actors), and the last few minutes provide fun (with snapshots of lovers and losers). In between there is a void--feeble jokes, a lot of falling down and foolish declarations.
  20. Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
  21. The film finally collapses under the burden of implausibility.
  22. Ultimately the script's often sharp social satire is drowned out by the noise and confusion.
  23. Will the movie end in an orgy of sentiment? Why do we bother to ask?
  24. 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.
  25. Their film is not so much thought out as strung together -- colorful incident upon colorful incident, but without logic, gathering suspense or any attempt to establish emotional connections between audience and actors.
  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. While Admission remains the story of a woman who comes to question her past choices and jeopardize her career, the movie version is lighter, fluffier and dramatically inert.
  28. This pickpocket of a movie flashes open its coat to proudly display all its swiped goodies.
  29. Copycat, directed by Jon Amiel ("The Singing Detective", "Sommersby"), means to be a Greatest Hits album of atrocities. A sick mind is a terrible thing to waste. [13 Nov 1995, pg.120]
    • Time
  30. The film fairly groans from all the narrative gamesmanship and lavish romantic gestures...The unbewitched viewer may groan as well.

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