Time's Scores

  • Movies
  • TV
For 1,680 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 City of God
Lowest review score: 0 The Women
Score distribution:
1,680 movie reviews
  1. The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."
  2. This is the most assured and hilarious of the three Martin-Carl Reiner collaborations.
    • 80 Metascore
    • 90 Critic Score
    In an age of post-Christian facetiousness, Martin Scorsese's work daringly attempts to restore passion and melodrama to the Gospel story. Protests notwithstanding, the film is an affirmation of faith in the power of both the Gospel and the movies.
  3. Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]
    • Time
  4. JFK
    Through his art and passion, Stone makes JFK plausible, and turns his thesis of a coup d'etat into fodder for renewed debate.
  5. The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]
    • Time
  6. 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.
    • 86 Metascore
    • 90 Critic Score
    The film has refurbished the classic romantic gospel of the outcast wanderer.
    • 63 Metascore
    • 90 Critic Score
    It also accomplishes that rarest achievement, the breathing of life into an ossified art form. The '70s has its first great epic.
  7. Big and pretty, vigorous, thoughtful, this Hamlet expands the story with helpful flashbacks.
  8. Director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic.
  9. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
  10. Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.
  11. Not just a ripping yarn but a powerful, poignant coming-of-age story.
  12. So, for those of you who were wondering if a great TV show could top itself at feature-film length, the good news is that The Simpsons did it! But "South Park" did it first.
  13. Insanely funny, if occasionally out-of-control, black farce.
  14. Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
  15. It is, like quite a few Lumet pictures, rather small in scale, easy to overlook. But I think it is time to gather around a director who has embraced his octogenarian bleakness and sing his praises. Ultimately, I think you'll laugh a lot at what he has wrought here -- but only well after the movie is over and the full scale of its perversity settles into your bones.
  16. I wouldn't call the film inspirational -- it is too well observed to succumb to easy sentiment -- but its realism is patiently engaging and subtly insinuating. And Linney and Hoffman are extraordinary.
  17. I have rarely, if ever, seen a documentary reconstruction of a historical event that is so rich in firsthand (and well-preserved) photographic material.
  18. A picture about war and politics that has manages to be both rational and inspirational. It is also the year's funniest smart movie.
  19. Not since "This is Spinal Tap" have I had such a good time watching amiable idiocy stumble on toward uncertain glory.
  20. Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.
  21. The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.
  22. 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.
  23. Indeed, you could argue that Tell No One is a variant on one of Hitchcock's favorite themes: the running man whose story no one (except us in the audience) believes. These fictions, of course, depend for their success on the French respect for rationalism (and their horror when reason is torn asunder by criminal irrationality).
  24. No film with an ambition this large, and achievement this impressive, can be anything but exhilarating, a vital affirmation of the creative process.
  25. Embrace the movie -- surely the most vivid and persuasive creation of a fantasy world ever seen in the history of moving pictures -- as a total sensory, sensuous, sensual experience.
  26. The movie is ridiculously over the top, inelegant and so defiantly ?crazy?that it works, reminding you how fun gore and creatures that go bump ?(and? grind) in the night can be. It's a sci-fi horror film, but no actual ?comedy?has made me laugh as much this year as Splice.?
  27. Tom Ford -- the Texas-born fashion designer who for a decade was the creative director at Gucci -- financed this first feature himself. The producer couldn't have hired a smarter director.

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