Time's Scores

For 1,886 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 A Fish Called Wanda
Lowest review score: 0 Untraceable
Score distribution:
1886 movie reviews
    • 14 Metascore
    • 50 Critic Score
    Given its budget, the quality of its writing, acting and production is remarkably high--about miniseries level.
  1. At least in a video game the player decides who needs to be killed, and what trail to take in the labyrinth. The Max Payne moviegoers are passive hostages on a long ride they've taken so many times before.
  2. Even when the film is cool, it manages to be wrong.
  3. Curiously, if fitfully, intriguing.
  4. To make something like Firewall good, you have to make it at least a little bit new--or add more than an unending patter of rain and techno-talk.
  5. What's true about The Perfect Storm is true of many effects epics: it's not a bad movie, except for the people.
  6. What plot it has is borrowed, improbably, from Henry IV, and whenever anyone manages to speak an entire paragraph, it is usually a Shakespearean paraphrase. But this is a desperate imposition on an essentially inert film. [28 Oct 1991]
    • Time
  7. This Mummy movie is really two movies: a good adventure epic, with all the Chinese people, and a wan one, with O'Connells and the other the Westerners.
  8. One of those shaggy-dog stories that you keep hoping will get sharper, smarter, cooler, more worthy of its star. Buscemi may not be exactly celestial, but he still deserves better.
  9. A little less agreeable and way more aggressive than its better begetter, Rio 2 has the overstuffed agenda of a movie that’s been focus-grouped to death.
  10. I have the anachronistic notion that romantic comedies needn't be exclusively partial to one gender; they should be critical and loving and true to both. So I'll soldier on with my mixed, distant, defiantly ignorant review of this 142-minute trifle -- which comes close to being the longest non-musical romantic comedy in Hollywood history.
  11. Ambitious of vision and swooping of camera, I, Frankenstein is no "I, Robot," let alone "I, Claudius," but it’s definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
  12. Like most children's movies, Rise of the Guardians mimics the patterns of adult entertainment. Where is the magic in that?
  13. Apart from some spiffy visual effects, which create coherent, scary textures and architecture for outer space, Green Lantern is the most generic of summer time wasters.
  14. You are hereby absolved of all guilt when you laugh your ass off in the first half of the film.
    • Time
  15. The story hits every expected beat, right when you expect it to. And it squanders some of its best resources.
  16. The first Rush Hour was a pretty good movie, the second one pretty lame. The threequel is somewhere in between: nothing special but with a high amiability quotient. The two stars know they click; it's no crime for them to extend and exploit that good vibe one more time.
  17. Randy and giggly, this is a femme version of "The Man Show."
  18. I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
  19. An ideal play is degraded into an indolent film
  20. Made with a sort of tasteful vulgarity, this movie never disappoints the slack-minded audience's anticipation of the humanistically healing banality, the life-crushing behavioral cliché.
  21. Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
  22. Brewer must have convinced himself that a schlocky old movie would speak eloquently to today's teens. About half of the time, he pulls it off.
  23. The pity is that Tarsem's intelligence doesn't connect his cinematic eye to his narrative mind. The director's visual gift is like a brilliant retina, detached.
  24. Soderbergh doesn't miss a trick, and for a while it's fun for us to share in his fun. But there comes a moment when his Euro-noir film turns into another sort of exercise for the audience: an exercise in boredom.
  25. Heart and art can make a beguiling pair. Those are mostly missing in this strained hybrid, which is less Bollywood than Follywood.
  26. Blue Jasmine is the 77-year-old auteur’s first flat-out non-comedy in a quarter century — since "Another Woman" and "September" in the late ’80s, and back to "Interiors" in 1978. Like those more somber studies, this is a portrait of a woman in extremis. But a view from afar: Allen observes Jasmine’s allure and disease without penetrating her soul. That makes for a movie that is both intimate and disinterested, as if Jasmine were a flailing insect in a barren terrarium.
  27. For clever as it is conceptually, it violates the most basic rule of romantic- comedy construction. If boy doesn't meet girl, then the drama of boy losing girl and the final satisfaction of boy getting girl cannot happen.
  28. In all, Body of Lies is a mixed bag of treats and trials, but it should be seen by audiences, and emulated and improved upon by other top directors.
  29. Somehow, by a narrow margin, the film doesn't quite make it. Potter recolored his work a little more sunnily, and it is, perhaps, too compressed; it needs TV's room to digress.

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