Time's Scores

  • Movies
  • TV
For 1,715 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 Flags of Our Fathers
Lowest review score: 0 The Last Airbender
Score distribution:
1,715 movie reviews
    • 35 Metascore
    • 40 Critic Score
    Because director Adrian Lyne takes all this so slowly and seriously, Indecent Proposal is an inadvertent comedy. As such, it is much funnier than "Honeymoon in Vegas", which tried in vain to be funny about the same idea.
  1. Five-Year has comic bloat. Virtually every character gets their own moment of stand up, but in most cases, the bits aren't funny enough to warrant the screen time.
  2. Sells out real satirical possibilities to its marketing potential as teen fluff. Everyone loses -- except Hedaya, who keeps faith with his character's nutsiness.
  3. The result is a Big Mac of a movie, junk food that somehow reaches the chortling soul.
  4. Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
  5. Lady doesn't work. Although he detonates a few terrific frissons involving the scrunt, the stabs at comedy are lurching and arrant. The spreading of tension from one character to many dilutes the mood. The would-be rapturous Spielbergian ending is on the wussy side.
  6. All this eye candy is ultimately only about as engaging as watching kids at play, which is what Sheen and Schwartzman seem to be doing. I can’t argue that this isn’t an accurate glimpse inside some man’s mind — perhaps Austin Powers?
  7. All attitude and low aptitude.
  8. Four minutes of Bush on SNL is just right, but 85-minutes of Cam Brady feels like a lot, even with a strong supporting cast that includes Jason Sudeikis as Cam's campaign manager and Katherine LaNasa as Cam's picture-perfect, but mean-as-nails wife.
  9. Bad Words seems to be heading into the creepy realm of a sociopath’s case study, yet it’s presented as a breezy satire about a rebel against the system. It must be the Dictionary-Industrious Complex.
  10. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  11. Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker.
  12. It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
  13. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  14. The movie is full of feints, shocks and scenes of particularly perverse violence, but nothing about it is fresh enough to haunt you in the night. It's predictable.
  15. All three give performances that would suit a better movie than this pallid shocker with little heart and no bite.
  16. Mostly the movie is like the marriage: good casting, golden promise, yet somehow a grating ordeal.
    • Time
  17. Too bad that Ride Along never makes it to Ordinary; it sinks into sub-. This is a movie you keep watching only from lethargy.
  18. Lee must have thought he could work a similar magic on this clunking, clanking machine. But despite a few witty wipes and split-screen tricks, he fails. Hulk is no better than hulking.
  19. But we don't go to movies like this in search of stylish apercus. We go to see innocents like ourselves getting swept up by irresistible tides of terror. And to have the pants scared off us. That doesn't happen in The Pelican Brief.
  20. Not a bad concept, and Martin Lawrence is appealing. Unfortunately, the writers have no gift for comic writing.
    • 77 Metascore
    • 40 Critic Score
    The screenplay, which begins as genuine comedy, soon degenerates into spurious melodrama.
  21. Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
  22. The weather is always inclement, the protagonists are all muddy when they're not bloody, King Arthur's Christianity is muscular but joyless, and Guinevere is often daubed with blue paint. No, folks, we're not in Camelot anymore.
  23. A movie this implausible shouldn't be this dull.
  24. W.
    The movie is an X-ray of an invisible man -- by the film's end, the W. still stands for Who?
  25. If "Waiting for Superman" was intended to make audiences think, Won't Back Down is supposed to make them feel. It made me feel more annoyed than outraged.
  26. Alas, it was George Lucas who became captivated by the Tuskegee Airmen and has, after many years as devoted producer, managed to turn their story into a feature film that falls much closer to the goofy "Hogan's Heroes" in the spectrum of World War II-focused productions than "Saving Private Ryan."
  27. As handsome and slack muscled as a surfer past his prime, the movie renounces ambiguity for confusion. In the end, like an old set of tires or a frayed friendship, Tequila Sunrise just wears out. [19 Dec 1988, p.79]
    • Time
  28. Sucker Punch has vast empty patches, deserts of dead air.

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