Time's Scores

  • Movies
  • TV
For 1,719 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 Tootsie
Lowest review score: 0 Billy Madison
Score distribution:
1,719 movie reviews
  1. Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Tin tailspins into silliness and never regains its flight pattern.
  7. They’re cute together, these two big stars, but the film around them, a sort of Tarantino lite, is desperately empty.
  8. The Santa Clause presents us with an Anti-Claus, Tim Allen of Home Improvement, hard-edged, discomfitingly frenetic and spritzing cheerless one-liners.
  9. 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.
  10. 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.
  11. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
  12. It yearns for Pixar-style wit without quite earning it.
  13. The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
  14. At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
  15. Osunsanmi wants you to believe that everything he shows you that's not reenacted by professionals really happened, and is documented by the omnipresent video cameras. It's a device used far more successfully in "Paranormal Activity," which had the added benefit of being a good movie.
  16. It doesn't work. It is just a mess -- though the sound track, full of Dylan songs is, of course, good to hear. But it is not better than the track on Martin Scorsese's "No Direction Home" documentary of two years ago.
  17. At 78, Polanski has earned the right to pursue his career-long demons of confinement and anarchy even in a minor film like this. But Carnage is not the word for what he's perpetrated here. Minor irritation is more like it.
  18. There is no rhyme or reason to this jumble -- except perhaps to stress Edith's endless self-victimization. This lack of narrative coherence naturally has the effect of distancing us from her story.
  19. That Max Smart is played by the admirable Steve Carell, who is desperately looking for deadpan jokes in all the wrong places, is beside the point.
    • 86 Metascore
    • 40 Critic Score
    The movie lets down the material. It's to cool: all attitude, no sizzle.
  20. You're unlikely to laugh much, and you may get an unexpected case of the non-art-imitates-bad-life creeps.
  21. For a tale of thieving, The Words plods along. Not that a literary heist is as exciting as a bank robbery, but there's a remarkable lack of tension in this story.
  22. The entire film is in fact a ferocious meditation on the dilemma of a son choosing his father. Which one will Bud emulate: the noble failure or the triumphant sleaze? The outcome is never really in doubt, so streamlined and predictable are the characters. [14 Dec 1987, p.82]
    • Time
  23. M. Butterfly, the David Cronenberg film of David Henry Hwang's Broadway play, fumbles its romantic and political metaphors and loses the game.
    • 48 Metascore
    • 40 Critic Score
    For a film that supposedly celebrates freethinking, there’s a woeful lack of it here.
  24. In this space epic, no one will hear you laugh.
  25. The actors, especially the ever appealing Smith, do what they can to ground the movie in reality, but it stubbornly remains dawdling, remote and pretentious.
  26. The film is one-note; misery is the only game in town.
  27. It’s got too much on its mind, and it’s unsure of its tone. This is the rough cut of a slimmer, better movie
  28. Somewhere has a lot of good impulses, and a salutary faith in an audience's patience; but the film's tone, in its script, performances and visual style, is studiously uninflected. It's a document of people seen remotely, maybe from outer space.

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