Time's Scores

  • Movies
  • TV
For 1,707 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Green Zone
Lowest review score: 0 The Last Airbender
Score distribution:
1,707 movie reviews
  1. Donen got it gloriously right the first time. Why do it again? And why do it like this?
  2. 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.
  3. Inept works like Good, which remains, like most such works, on the anecdotal fringe of the problem.
  4. Dispassionate, curiously lifeless, lacking the energy of either youthful commitment or a deeply engaged re-examination of the past.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. "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
  12. 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.
  13. Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
  14. The film finally collapses under the burden of implausibility.
  15. Ultimately the script's often sharp social satire is drowned out by the noise and confusion.
  16. Will the movie end in an orgy of sentiment? Why do we bother to ask?
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. This pickpocket of a movie flashes open its coat to proudly display all its swiped goodies.
  22. 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
  23. The film fairly groans from all the narrative gamesmanship and lavish romantic gestures...The unbewitched viewer may groan as well.
  24. Instead of the meeting of maestros at the top of their form, Righteous Kill has the feeling of Roger Clemens and Barry Bonds facing off for the first time in an exhibition game. It's like Old Timers' Day at the Motion Picture Home.
  25. 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.
  26. The skitcom format soon becomes tiresome.
    • Time
  27. Doesn't offer much.
  28. The Greatest often feels like a mash-up of Sarandon's greatest grief hits.
  29. What's Your Number? is not much dumber than the average romantic comedy, but there is something sad and infuriating about it.
  30. A bloated, criminally judgmental borderline-comedy.

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