Time's Scores

For 1,887 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Toy Story
Lowest review score: 0 Two of a Kind
Score distribution:
1887 movie reviews
  1. Until a vigorous climax, the action scenes have little punch.
  2. The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
  3. The Terminal is Spielberg's shortest feature since the first "Jurassic Park," yet it drags, plods, piling one lifeless situation atop another. For all the effort and good intentions, the movie is in-terminal-ble.
  4. In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
  5. Emmerich has turned his attention to the past. He and screenwriter John Orloff have embraced a kitchen sink's worth of 20th-century conspiracy theories about the provenance of Shakespeare's plays, each wilder than the last. Oliver Stone's "JFK" looks reasonable compared to this.
  6. Even in the skillful hands of director Lone Scherfig, the effect is disjointed. The characters that Nicholls brought so cunningly to life in the book feel rushed through a timeline, tied to an agenda.
  7. One has to admit that enormous moviemaking skill goes into the creation of pictures like The Incredible Hulk. The sheer craft directors such as Leterrier lavish on them is awesome to me. I can't imagine how they orchestrate -- or even remember -- all the little pieces of film they require to build their big set pieces. That thought, however, is nearly always followed by this question: Why do they bother?
  8. In Susan Minot's goofy script, Tyler ministers to ailing writer Jeremy Irons and other artsy layabouts while searching for the man on whom to bestow her virginity. The climactic deflowering scene provides the only giggles in an otherwise stodgy mess.
  9. The problem is that this pot of intrigue takes ages to boil, and the cook refuses to turn up the heat. And if vitality is not an element Sayles cherishes, neither is nuance.
  10. It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
    • Time
  11. I did laugh. The movie is so disgusting it is worthy of the Farrelly brothers.
  12. The scorekeepers at the various sites that rate critics' enthusiasm for a film shouldn't even try to elicit a Pass or Fail grade from me on T3. I'm a fascinated, stupefied outsider. Just mark me Present.
  13. The best you can say for this version of Charlie's Angels is that it retains a sort of chipper, eerie good nature as it wastes the studio's money and our time.
    • Time
  14. There's something about her (Nair) Vanity Fair that doesn't quite work. There is no depth beneath its bright surfaces, no potent emotional undercurrents.
  15. The critic in me can authoritatively declare that the film is crap. The fan in me sent his shirt to the dry cleaners for tear removal.
  16. The story is achingly familiar, and though Stallone has a certain power, he is certainly not the subtlest actor to crawl out from under Marlon's overcoat. But the picture goes most wrong in the conceit it employs to lift Rocky out of the clubs and into the big arena for his title challenge.
  17. Von Trier has a tendency to go overboard in his denunciations of American violence (Dogville). By contrast, Dear Wendy is a cogent, comprehensive take on the land and the films that obsess him.
  18. Hearts sinking, we are obliged to endure much pseudo-serious gabble as we head toward another painfully predictable triumph of the human spirit. There must be some better way of hunting our--and Oscar's--goodwill. [Dec. 1,1997]
    • Time
  19. As a person who removes a woman's clothing in the half light of a Southern afternoon, Efron acquits himself reasonably well.
  20. The picture is no great shakes as cinema, and a shade too cute for its own good.
  21. It has a gentle if unenlightening message, namely that we should all take time off to reconnect - the soundtrack tends to the Bonnie Raitt but the movie seems to subliminally hum "slow down, you move too fast" - and Keaton and Kline have decent chemistry.
  22. The man (Sparks) is a cultural magpie, capable of borrowing from a 1991 Julia Roberts flick and M. Night Shyamalan in one fell swoop. He’ll never get an award for originality, but when it comes to rehashing formula and pleasing his audience, the man is a master.
  23. In its lesser moments, of which there are more, Liberal Arts calls to mind more the spirit of an alumni magazine, so bathed in nostalgia for academia that you expect autumn leaves to flutter down to the theater floor.
  24. Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
    • 40 Metascore
    • 50 Critic Score
    It has some of ["American] Graffiti's" sweetness of spirit, but none of its style or depth of feeling; it has some of "Animal [House"]'s raunchiness, but none of its loony anarchy.
  25. The dreariest thriller of the year.
  26. It’s a bit of a botch.
  27. If you dare to keep track, the dumb stuff in The Space Between Us piles up quickly.... But it's not as easy to make fun of the mild sweetness at the heart of the movie.
  28. Its visual thrills are chilly and wearying compared with the other films' quirky humanity. It's not a megamovie; it's a Sega movie.
  29. To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.

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