Time's Scores

For 1,740 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Opposite of Sex
Lowest review score: 0 The Women
Score distribution:
1,740 movie reviews
  1. An ambitious but sub-ordinary SF epic in which, as so often, Willis is better than his material.
  2. 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
  3. Hotel Transylvania isn't a complete stinker. Sandler, speaking in a pitch close to his Opera Man routine from his days on Saturday Night Live, is less obnoxious than usual. The visuals are consistently enticing - the castle/hotel is artfully rendered...And there are some bright and funny lines.
  4. 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."
  5. That first movie raised the craft of torture to a low art. Expect no less in LW2, directed by Richard Donner and written by Jeffrey Boam. This installment features a surfboard decapitation, death by carpenter's nail gun, a bomb wired to a very sensitive seat ( and reduction of the Afrikaaner diaspora by about one-half. (24July 1989, p.53)
    • Time
  6. Whatever director Peter Hedges' intent, the movie itself, a sentimental blend of magical realism and saccharine emotions, is oddly false. It made me want to go on a sugar cleanse.
  7. This sugary sweet chick flick is so rich in its ripeness and full in its foolishness that I look forward to groaning in happy horror when I inevitably see it again, whether while drinking or when laid low by the kind of flu whose symptoms include a desire to watch Meg Ryan rom coms on cable.
  8. Last Action Hero starts out mostly nuts, and winds up mostly bolts. Or, rather, winds down. That's a problem with pastiche: it must be constantly jump-started with ingenuity, and even that ultimately pales. By the end, nothing matters. [21 June 1993, p67]
    • Time
  9. Warm-hearted humanism is glopped all over Renaissance Man in the hopes that we won't notice that the story makes no sense.
  10. Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
  11. Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
  12. It’s wandering, not urgent, while indicating that all-Shailene-all-the-time can be too much of a pretty good thing.
  13. He's neither a fun villain or a secret good guy; the movie feels like a senseless venture because, even with his pants down on top of Clotilde or manhandling Virginie, he's the dullest scoundrel around.
  14. The film has just enough collisions to be a crashing bore.
  15. The frenetic pace masks an emptiness; this Ice Age is just a collection of slapstick moments and fisticuffs.
  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. A gaudily ornamented medieval banquet table groaning with junk food and open entrails.
  18. The clutter makes your head feel like it's about to explode - and not in a good way, with wonders upon wonders. Instead it seems like arcana that might show up on the midterm final: the next Marvel movie.
  19. The net result of this mighty effort is perhaps predictable: near total inconsequence.
    • Time
  20. Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
  21. Mama is clumsily written and choppily edited, but Chastain doesn't have a bad scene in it, and you can see why she chose to be in this supernatural ghost story.
  22. Edgeless, it takes a wistful, hopeful approach to heartbreak and job loss. That's sweet, but when it comes to unemployment-themed cinema, I'll take the greater realism of last year's "The Company Men" or this year's "Everything Must Go" over Hanks's too rosy vision of life after the pink slip.
  23. The director is going through the motions, and he doesn't display the cinematic skill, at least in the release version, to bring off an exercise in either Hitchcockian or Shyamalanian suspense.
  24. It's silly enough that young teens are unlikely to be drawn to it unless they've got a thing for Hudgens or want to take an early peek at Hutcherson, who will soon be seen as Peeta in "The Hunger Games." He was great as a sulky brat in "The Kids Are All Right" but in Journey 2 he comes across as wooden, dull and though not yet 20, too old for roles like these.
  25. Tin tailspins into silliness and never regains its flight pattern.
  26. They’re cute together, these two big stars, but the film around them, a sort of Tarantino lite, is desperately empty.
  27. The Santa Clause presents us with an Anti-Claus, Tim Allen of Home Improvement, hard-edged, discomfitingly frenetic and spritzing cheerless one-liners.
  28. 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.
  29. The steady wink wink of Queen of Versailles is wearing. I'd say Greenfield is exploiting a narcissist's willingness to talk endlessly about herself, but I think it just as likely that Jackie is exploiting Greenfield's willingness to listen. And to keep that wonderful mechanical eye focused on her.
  30. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.

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