Time's Scores

For 1,742 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 The War of the Roses
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,742 movie reviews
  1. The summer’s best, coolest, juiciest, smartest action movie.
  2. To their old fascination with Sunbelt pathology, to their side-winding Steadicam and pristine command of screen space, the Coens have added a robust humor, a plot that keeps outwitting expectations and a surprising dollop of sympathy for their forlorn kidnapers. [23 March 1987]
    • Time
  3. Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.
  4. Wry, richly layered, wonderfully observed Argentine film.
  5. It's hard enough to find comedies like this at any time, so it's a small and welcome miracle to come upon one in the midst of a typical movie summer.
  6. This is a survival manual turned into an existential prison-break movie; it cuts deep and, at its ecstatic climax, soars high.
  7. Side Effects virtually demands a three-word review: Just see it.
  8. This is a test, requiring rapt concentration and acute attention, and repaying a hundredfold. For spectators dulled by the midget movies of an arrtstically timid era, the film may be a chore. For those on Malick’s rarified wavelength, it’s a wonder.
  9. Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)
    • Time
  10. Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
  11. The movie has two virtues essential to good pop thrillers. First, it plugs uncomplicatedly into lurking anxieties -- in this case the ones we brush aside when we daily surrender ourselves to mass transit in a world where the loonies are everywhere. Second, it is executed with panache and utter conviction.
  12. Fincher, whose work on "Fight Club" and "Panic Room" displayed his expertise in melding the suspenseful and the lurid, plays it cool here. He lets his stars do their thing.
  13. This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
  14. If the film is just as strange and endearing as its glowing protagonist -- and it is -- that's because the director and co-writer (with Mignola) is Guillermo del Toro, 43, who has the wildest imagination and grandest ambitions of anybody in modern movies.
  15. This is a serious filmgoer's treat: intelligence cloaked in elegance.
  16. A canny director and a top star decided to dig deep to find the core of a compromised hero. And when they reach that center of gravity, Flight soars.
  17. There's something old-fashioned and dauntless about the way the film pushes past our initial resistance to its setting and subject matter, past pain, past defeat, to make this point. Because it rejects easy victories, this may be one of the few inspirational movies that could actually inspire someone, somewhere, sometime.
  18. Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.
  19. The looming presence of that planet and its possibilities turns Another Earth into a metaphysical treat, with influences that range from Krzysztof Kieslowski's "The Double Life of Veronique and Blue" to Andrei Tarkovsky's "Solaris." It's the most soulful art movie of the summer.
  20. Redux is both a reminder of American cinema's last glory days and a rebuke to the timid present. Maybe Apocalypse Now wasn't the best movie of 1979, but Redux is surely the film to beat for 2001.
    • Time
  21. Solondz's most waywardly endearing film - his gentlest triumph.
  22. This is a bold, drastic and utterly persuasive inhabiting of a doomed fighter by a performer who has graduated from the shirtless rom-com Romeo of the last decade to indie-film actor du jour.
  23. The sober wit of this comedy arises not from conventional artifice -- snappy dialogue, wacky situations -- but from a realistically drawn ensemble interacting truthfully with one another.
    • Time
  24. The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
  25. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
  26. Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
  27. Their sweet, determined, gently understated struggle for fulfillment in a superstitiously conservative society makes this densely, deftly packed movie a quiet joy to behold.
    • 82 Metascore
    • 90 Critic Score
    What happens is not the substance of Manhattan as much as how it happens. The movie is full of moments that are uproariously funny and others that are sometimes shattering for the degree in which they evoke civilized desolation.
  28. Beautiful Girls is always in touch with reality but never drowned in it. [19 February 1996, p.64]
    • Time
  29. It is vigorous, subtle, thematically daring, visually gorgeous.

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