Time's Scores

For 2,029 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Things to Come
Lowest review score: 0 Jack and Jill
Score distribution:
2029 movie reviews
  1. In its soft-spoken way, it is fierce, shaggy and deeply weirded out.
  2. The film has such a weakness for the easy incongruity (short men dancing with tall women--isn't that hilarious?) that it could almost be Australian. But Shall We Dance? also has an emotional gravity; it is grounded in a middle-aged man's nagging belief that he has one last chance to grab at life. [16 June 1997, p.76]
    • Time
  3. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  4. A true movie rarity: a brutally honest romance. If you loved "Sleepless in Seattle," you'll just hate it.
  5. The goofy hysteria of something like "A Summer Place" was infinitely more entertaining and emotionally authentic than the distant smugness of this failed clone. [7 April 1997, p. 76]
    • Time
  6. More important, we should take into account the fact that this is really quite a good movie--a character-driven (as opposed to whammy-driven) suspense drama--dark, fatalistic and, within its melodramatically stretched terms, emotionally plausible.
  7. An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
  8. In an era when films reduce the aged to comic cranks, Rifkin is heroic--the Lear of grumpy old men.
  9. Ordinarily such trespasses against truth would be enough to condemn such a movie, but Rhames' gravity and grace, Voight's pinched anguish as he wills himself to do right, the moving work of actors like Don Cheadle and Esther Rolle do much to redeem this film for human if not historical reality.
  10. The warming, nicely played relationship of the burglar and his lawyer daughter (Laura Linney) is the source of the film's absolute power. [24 Feb 1997, p. 67]
    • Time
  11. Writer Leslie Bohem and director Roger Donaldson brush briskly through the standard scientific and romantic blather. They know that in movies like this, complexity is the province of the special-effects people.
  12. This good-natured movie is very much in the spirit of those ancient comedies from Ealing Film Studios in which nice, silly people defend some enclave of old-fashioned sanity against the forces of brute modernism. [27 January 1997, p. 68]
    • Time
  13. Jogs from one incident to the next, amassing information and dispensing attitude but rarely creating real characters. That's supposed to be director Milos Forman's forte; here, though, nearly everyone is an enemy or a stooge.
  14. But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.
  15. An idiot-savant movie, knowing but not smart.
  16. Marvin's Room, the 1991 Scott McPherson play, filmed by Jerry Zaks, is an old-fashioned weepie of noble mien with many bright moments and a superb cast.
  17. Altogether wondrous.
  18. Perhaps they don't create quite enough deeply funny earthlings to go around, but a thoroughly meanspirited big-budget movie is always a treasurable rarity. And those little guys from far away are a hoot. [30 Dec 1996]
    • Time
  19. Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  20. For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  21. Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
  22. Ceases to be a cogent study of the disease of genius and devolves into two lesser creatures: an ordinary weepie and an Oscar contender.
  23. To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
  24. In its pagan fervor, this is an almost religious experience.
  25. Its major sin--a certain ineluctable improbability--is pretty much offset by the moments of winsome humanity Gibson finds for his freebooter; by the rich, nicely tuned portrayals of the other actors; and by director Ron Howard's smoothly professional mastery of yet another genre that is new to him.
  26. Luhrmann, an Australian who pretty much let his camera go nuts in the egregiously overrated "Strictly Ballroom", here makes reasonable, imaginative decisions that are, arguably, true to Shakespeare.
  27. Despite some rough edges and language, this is at heart a beguiling fantasy of comradeship.
  28. At some low, what's-next level, Sleepers works like, well, gangbusters. [28 October 1996, p. 113]
    • Time
  29. A careful, finally powerful film.
  30. There are pain and honor in this performance, and they constantly rise up to redeem a film that is less probing, less thoughtful than its director's claims and aspirations for it.

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