Time's Scores

For 2,019 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 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Hurt Locker
Lowest review score: 0 Two of a Kind
Score distribution:
2019 movie reviews
    • 100 Metascore
    • 100 Critic Score
    It is a work of art created for grown people by grown people...Orson Welles treats the audience like a jury, calling up the witnesses, letting them offer the evidence, injecting no opinions of his own. He merely sees that their stories are told with absorbing clarity. Unforgettable are such scenes as the spanning of Kane's first marriage in a single conversation, the silly immensity of the castle halls which echo the flat whines of Susan.
    • 100 Metascore
    • 90 Critic Score
    Nothing short of an invasion could add much to Casablanca.
  1. A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.
  2. Singin’ in the Rain might have been the last musical of the ’50s to convey irrepressible optimism through what Alan Greenspan would call “irrational exuberance.” But what exuberance! Look at it and try to think of a contemporary picture that has half as much vivacity, fun, joy. When your movie-loving grandpa says, “They don’t make ’em like they used to,” he is surely thinkin’ of Singin’ in the Rain.
  3. A coming-of-age movie, and a love story, that leaves you feeling both stripped bare and restored, slightly better prepared to step out and face the world of people around you, with all the confounding challenges they present. There’s not much more you can ask from a movie.
    • 97 Metascore
    • 100 Critic Score
    Whatever it was not, Gone With the Wind was a first-rate piece of Americana, and Americans in the mass knew what they wanted before the critics had got through telling them they should not want it.
  4. One of the strongest movies in recent years.
    • 97 Metascore
    • 70 Critic Score
    Lipsticked, mascaraed and tilting at a precarious angle ("How do they walk in these things?"), Actor Lemmon digs out most of the laughs in the script. As for Marilyn, she's been trimmer, slimmer and sexier in earlier pictures.
    • 97 Metascore
    • 100 Critic Score
    This superb and singular film catches not only the charm and tribal energy of the teen-age 1950s but also the listlessness and the resignation that underscored it all like an incessant bass line in one of the rock-'n'-roll songs of the period.
  5. Ran
    If Shakespeare's poetry enters the mind through the ear, Kurosawa's enters it through the eye. But the imagery is of comparable quality, at once awesome in its power, delicate in its irony and, finally, for all the violence of the events it recounts, eerily serene in the sureness with which it achieves its effects.
  6. A document that is raw, eloquent, horrifying and essential.
  7. Casey Affleck is both the soul and the anchor of the movie.
    • 96 Metascore
    • 90 Critic Score
    These minor lapses, though, do not seriously affect the bewitching qualities of the film—which, in addition to being superb suspense, is a wicked argument against planned parenthood.
  8. The subtle colors and textures of the food alone make Ratatouille a three-star Michelin evening.
  9. Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.
  10. Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
  11. The voluptuousness of visual detail offers proof, if any more were needed after The Little Mermaid, that the Disney studio has relocated the pure magic of the Pinocchio-Dumbo years.
  12. When a genius like Lasseter sits at his computer, the machine becomes just a more supple paintbrush. Like the creatures in this wonderful zoo of a movie, it's alive!
  13. The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
  14. Peck captures all that’s galvanizing and forceful about Baldwin’s words and demeanor.
  15. The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.
  16. However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.
  17. It works; this is Pixar's most enthralling entertainment since "Nemo."
  18. Bravely and with penetrating intelligence, Before Midnight elevates instead the practical, a partnership: frayed by disappointment, worn by time, but for the very luckiest—which we sincerely and selfishly hope includes Jesse and Celine—durable for the long day’s journey into night.
  19. The devastating truth of 45 Years, so beautifully wrought, is that even the most devoted couples are made up of two people who are essentially alone.
  20. Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.
  21. The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]
    • Time
  22. It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
    • Time
  23. A near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.
  24. Inside Out is nearly hallucinogenic, entirely beautiful and easily the animation studio’s best release since 2010’s "Toy Story 3." Stylistically Inside Out is nothing like Richard Linklater’s "Boyhood," but for its scope in examining the maturation process, it might well be called "Childhood."

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