Time's Scores

  • Movies
  • TV
For 1,698 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Rise of the Planet of the Apes
Lowest review score: 0 Two of a Kind
Score distribution:
1,698 movie reviews
  1. 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?
  2. While Admission remains the story of a woman who comes to question her past choices and jeopardize her career, the movie version is lighter, fluffier and dramatically inert.
  3. 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
  4. They’re cute together, these two big stars, but the film around them, a sort of Tarantino lite, is desperately empty.
  5. 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.
  6. 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.
  7. Too bad that Ride Along never makes it to Ordinary; it sinks into sub-. This is a movie you keep watching only from lethargy.
  8. 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.
    • 48 Metascore
    • 40 Critic Score
    For a film that supposedly celebrates freethinking, there’s a woeful lack of it here.
  9. And yet, all three women are less watchable and amusing that Nicki Minaj as Carly’s legal assistant Lydia.
  10. Frantic and rote by turns, mislaying the power of the central love story and piling on the mutant adversaries. For at least this installment, Spider-Man is Amazing no more.
  11. So why is the Jersey Boys film a turgid botch? Eastwood’s résumé hints at a reason. His affinity is for American standards as improvised on piano or guitar by indigenous artists in smoky nightclubs, not for the tightly wound, impeccably pounding songs that Bob Gaudio and Bob Crewe wrote for the Four Seasons.
  12. Studying the topography of decay in a veteran actor’s face is one of the few worthy pursuits for moviegoers sitting through the epic-length, belligerently inconsequential The Expendables 3 — a picture whose very title proclaims its redundancy.
  13. The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
    • Time
  14. Maybe kids will like the movie; their lust for dinolore appears to be insatiable. But the rest of us will yearn for Robin Williams' giddy goofing in "Aladdin."
    • Time
  15. This is not necessarily an improvement, but it's not a total disaster either.
  16. Blow works for a scene or two, then stalls.
    • Time
  17. What it doesn't have is a central figure you can give a hoot about.
    • Time
  18. This is soft-gore porn, obvious in its strategies, witless in the play of its ideas, absurdist only in its pretense to seriousness.
  19. A grim and draggy romance in which even the clothes and sets are dismal.
  20. But this is a sloppy job, both in little goofs...and in the cast's gung-ho amateurism. It's like Shakespeare done by the "Fame" kids.
  21. You will simply want to shoot yourself by the third inning.
    • Time
  22. The tone is cloying, the running time bloated.
    • Time
  23. So muted it disappears from your view even before it recedes from your memory.
  24. There's neither intricacy nor surprise in the narrative, and these dopes are tedious, witless company. Mostly you find yourself thinking, "How long until dinner?"
  25. We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
  26. In the end, everything about this glum and self-important adaptation of Anne Tyler's upper-cute novel is dim. [26 Dec 1988, p.83]
    • Time
  27. All its desperate plot maneuvers (Ben and Sandra making like Tarzan on a train roof) can't give the film wit; all the slo-mo sleet, rain and confetti can't give it style. [March 22, 1999]
    • Time
  28. Redford underacts, Gandolfini overacts, and this movie is directed with the same air of unreality, the same grim passion for cliches, both cinematic and emotional, that Lurie brought to his first film, "The Contender."
  29. Agresti's just out to give us a sentimental good time. Which some people, heaven help us, will have -- while the rest of us choke on the cutesiness.

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