Time's Scores

For 1,857 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 American Sniper
Lowest review score: 0 Untraceable
Score distribution:
1857 movie reviews
  1. At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
  2. 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.
  3. When it shifts into action mode, the movie can be a spectacular rush.
  4. Dolman's comedy isn't exactly a barrel of emotional surprises, but its great cast underachieves admirably. There are worse ways to pass 94 minutes.
  5. After “The Matrix Reloaded” and “The Hulk,” there's something refreshing about this movie's complete lack of intellectual pretense.
  6. Fresh inspiration is sparse here; the sequel is less an extension than a remake. Holmes says of one of his lamer disguises, "It's so overt, it's covert." And the shadow in this game is the imposing penumbra of Ritchie's very satisfying 2009 film. It's overt and overwhelming.
  7. The film also serves as the clearest statement of Glee's sacred mission. Through it, we can see how the entire multimedia phenomenon - the show, the albums, the iTunes hits, the recent concert tour and now this movie - has accrued the odor, say the incense, of a secular religion.
    • 48 Metascore
    • 40 Critic Score
    For a film that supposedly celebrates freethinking, there’s a woeful lack of it here.
  8. The Counsellor is neither an outright disaster nor misunderstood masterpiece: it’s just a very bad idea for a film, proficiently executed.
  9. In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
  10. Until a vigorous climax, the action scenes have little punch.
  11. Coming to America seems to be more career move than movie. After the raucousness of Beverly Hills Cop II and the raunchiness of Eddie Murphy Raw, the star apparently wants to assert his claim on the currently vacant title of America's Sweetheart. His aspirations must be bigger and badder than that. We want -- may actually need -- something more from this gifted man than Eddie Murphy Tame. [4 July 1988 p.66]
    • Time
  12. Hopelessly overwrought and deeply dopey movie.
  13. For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
  14. Star Trek is, finally, nothing but a long day's journey into ennui.
  15. The Girl on the Train is less a thriller than a morality tale reminding us never to make snap judgments. No matter how dreadfully some characters behave, we’re not allowed to dislike anyone for long. That kind of catharsis isn’t allowed.
  16. We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
  17. As transparent as this device is, Angels has elemental satisfactions in its blend of movie genre that could appeal to wide segments of the audience.
  18. Even in the skillful hands of director Lone Scherfig, the effect is disjointed. The characters that Nicholls brought so cunningly to life in the book feel rushed through a timeline, tied to an agenda.
  19. 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.
  20. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  21. This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
  22. There is an inherent problem about any sequel that too slavishly duplicates the style and substance of its predecessor; it cannot deliver the delight of discovery that the original provided. Axel made a swell first impression, but he is still living on it, perhaps not yet a bore, but not quite as fascinating as he once promised to be.
    • 48 Metascore
    • 20 Critic Score
    Director Fran Rubel Kuzui's frenzied mistrust of her material is almost total. Somebody should have given her a garlic necklace -- or a Miltown -- and told her to chill out.
  23. The film has a hectic, sitcom air and a full-of-himself hero who is as likely to grate as to ingratiate.
  24. This is a big, often quite scary action movie, with tons of creepy computer-generated imagery that's right up there with Voldemort in terms of physical nastiness, although less powerful emotionally.
  25. It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
  26. Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
  27. You're entitled to ask for more than that in a comedy, but these days you're often obliged to settle for a lot less.
    • 47 Metascore
    • 10 Critic Score
    This movie could induce terminal boredom in adults and rot the minds of the young. [26 August 1985, p.64]
    • Time
  28. A serious, handsome, excruciating film that radiates total commitment.
  29. Did anyone have a good time making this movie? The actors seem to be reading their lines at gunpoint, in an enterprise whose mood is less summer camp than internment camp.
  30. The trilogy ascends and soars with the two combatants and ends not with a whimper but with a blast of light. Thus the fabulous original film has found an honorable way to sign off. For those who didn't bother to join the early crowds, The Matrix Revolutions is a definite might see.
  31. The picture is sometimes wayward and unwieldy, its dialogue creaky and awkward, like an amateur’s attempt at scrimshaw.... But in a movie climate rife with superhero reboots and rehashings of childhood favorites, it’s a small marvel that In the Heart of the Sea exists at all.
  32. Bad Teacher revels in being distasteful. But it can't just let a bad woman be bad; she also has to be burdened with physical insecurity, even if it makes no sense. Can you imagine if Billy Bob Thornton's character had become Bad Santa so he could steal to fund his penis implant?
  33. We're talking fables, not reality, here, and this is a fine and merry one--"Ms. Woods Goes to Washington"--played to airy perfection by Reese Witherspoon and a light-on-its-feet cast.
  34. The results, while occasionally forced, are consistently amusing.
  35. Swing Vote falls from agreeable fable into wan satire.
  36. The actors, especially the ever appealing Smith, do what they can to ground the movie in reality, but it stubbornly remains dawdling, remote and pretentious.
  37. 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.
  38. Diverting without being fully absorbing, this is a film best appreciated as an exercise in--shall we say it?--Primal Gere. [15 Apr 1996, p.100]
    • Time
  39. It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
  40. Tin tailspins into silliness and never regains its flight pattern.
  41. An uninvolving muddle.
  42. Wyatt Earp drones past its logical conclusion, which is, of course, the great shoot-out. Since Earp's life uninstructively limped along after that event, so must the movie, further abusing our overtaxed patience and undertaxed intelligence.
  43. Hotel Transylvania isn't a complete stinker. Sandler, speaking in a pitch close to his Opera Man routine from his days on Saturday Night Live, is less obnoxious than usual. The visuals are consistently enticing - the castle/hotel is artfully rendered...And there are some bright and funny lines.
  44. Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
  45. For the uninitiated, The X Files: I Want to Believe may seem as musty and forbidding as one of those dank secrets that Mulder and Scully were forever digging up from some backyard, or fetid swamp, or their own aching hearts.
  46. Politics aside, this is a handsome film with orange skies to die for, or under, and a lovely score by Carter Burwell. The picture has some ponderous and snooze-worthy stretches, but it attains a certain melancholic grandeur, with the actors and crew fighting as desperately as Crockett and Bowie to make the best of a fated adventure.
  47. Whatever director Peter Hedges' intent, the movie itself, a sentimental blend of magical realism and saccharine emotions, is oddly false. It made me want to go on a sugar cleanse.
  48. You could also say the picture lacks a coherent plot and complex characterization, but those are irrelevant to the genre. The movie is like a superior athlete who gets tongue-tied in a post-game interview but on the field is poetry in motion.
  49. The weather is always inclement, the protagonists are all muddy when they're not bloody, King Arthur's Christianity is muscular but joyless, and Guinevere is often daubed with blue paint. No, folks, we're not in Camelot anymore.
  50. Eastwood can earn both laughs and respect just by standing in a crowded elevator and grunting ''Swell'' to his boss. Truth is, this time around, he doesn't get to do much else. [18 July 1988, p.73]
    • Time
  51. Alas, it was George Lucas who became captivated by the Tuskegee Airmen and has, after many years as devoted producer, managed to turn their story into a feature film that falls much closer to the goofy "Hogan's Heroes" in the spectrum of World War II-focused productions than "Saving Private Ryan."
  52. Something of an odd-duck movie. It is not a broad comedy or a wildly romantic one, either. Nor is it Edith Wharton lite. But it does partake of all those modes in intelligently observant ways.
  53. Light as a feather, the movie is at times a modest pleasure, but inconsequential.
  54. Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.
  55. A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
  56. The pity is that Tarsem's intelligence doesn't connect his cinematic eye to his narrative mind. The director's visual gift is like a brilliant retina, detached.
  57. Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
  58. Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
  59. Gaudily entertaining, occasionally wearying sequel.
  60. Yeah, well, I still like the film.
  61. The smartest, funniest, most cleverly structured comedy of the year.
    • Time
  62. 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
  63. Sometimes intelligent, often cuddlesome and ultimately bland.
  64. Howard and Goldsman have efficiently touched all the bases. But they haven't found a way to replicate the book's page-turning urgency.
  65. Is comedy a young man's game, like skateboarding or sex? Writing jokes, creating droll characters -- these take ambition, ingenuity and energy, and after decades of devotion to this voracious muse, a fellow can get pooped.
    • Time
  66. Yet he just kept going and going, and the slick, proficient Knight and Day is proof that you should never count Cruise out.
  67. For all its superpower simplifications, White Nights has discovered in Baryshnikov a keen and passionate movie hero. Giggle at the film's naiveté; then feast on Misha and dance down the steppes.
  68. A lot of the gags are pretty good. It's not that Star Wars is less worthy of satire than horse opera or gothic horror. It's not that Mel Brooks has lost his cunning, though he does need a freedom of speech not to be found under a PG rating. What's missing is that zany old gang of his. There is simply nobody like them on this trip. [13 July 1987, p.68]
    • Time
  69. Though the movie is no more than agreeable, it does provide a swell showcase for New Zealand wundercomic Rhys Darby (Murray the hapless agent on HBO's Flight of the Conchords) and gives the astrally adorable Zooey Deschanel a rare shot at a lead role in a big Hollywood movie.
  70. The film, though, lies dormant in its own decency.
  71. Not a bad concept, and Martin Lawrence is appealing. Unfortunately, the writers have no gift for comic writing.
  72. It's like a giant sculpture that is so strange and off-putting, it's instantly, intriguingly post-modern. Swept up in the film's pile-driving self-assurance, even Bay-haters may absorb the pain to enjoy the gain.
  73. Somehow, by a narrow margin, the film doesn't quite make it. Potter recolored his work a little more sunnily, and it is, perhaps, too compressed; it needs TV's room to digress.
  74. It's kind of fun--if you have the stomach for its more grisly passages.
  75. Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
  76. Rarely have so many gifted women labored so tastefully to bring forth such a wee, lockjawed mouse.
  77. Unfortunately, Girl in Progress doesn't upend anything; it just makes us weary of its wisecracking, oblivious teen and her ditzy mom.
  78. Non-headline-making but often entertaining docu-travelogue.
  79. The Greatest often feels like a mash-up of Sarandon's greatest grief hits.
  80. This is Meyer's worst offense - her disturbingly Victorian attitudes about sex and love, which this particular movie falls modestly in lockstep with, even though it concludes years of cinematic foreplay.
  81. No kidding: this is the feel-good movie of the year and a cinematic soul massage.
  82. To make something like Firewall good, you have to make it at least a little bit new--or add more than an unending patter of rain and techno-talk.
  83. The movie proved to be an exasperating, fitfully enjoyable jumble of Perryana, full of insult humor, a gospel choir and, not to give too much away, plot elements borrowed from "Chinatown," "Precious," "Imitation of Life" and "Cheech and Chong's Up in Smoke" - all restitched and Tyler-made.
  84. Maid in Manhattan is not so much a movie as a collection of career moves. J. Lo needs a comedy hit to support her principal activity, adorning magazine covers. Fiennes needs to warm his austere British image if he hopes to become a true international star.
    • Time
  85. Will the movie end in an orgy of sentiment? Why do we bother to ask?
  86. All the actors rise or bend to the challenge, giving juicy performances and seemingly having a fine old time.
  87. It's a faux epic -- swell costumes, historically authentic settings, a certain amount of bustle and skulking, but very little dramatically gripping activity.
  88. The film (directed by Andy Tennant) has more problems than Melanie, and they're insoluble. Its lazy calculation telegraphs each plot turn and underlines emotions with corn-pone music.
  89. It's as if everyone was just a little too much in tasteful awe of its subject, who is played rather stolidly by Nick Nolte.
  90. Somehow Neeson makes the ridiculous plausible. A mature, real man in an era of superhero fantasy, he radiates something rare in movie musclemen: a haunted gravity to match his outsize physique.
  91. I Love You to Death lacks the precision, ferocity and guts needed for black farce.
  92. Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
  93. The novelty of Pride and Prejudice and Zombies wears thin in the last third: How is it that the threat of a zombie apocalypse is always more thrilling than the event itself? But Riley and James help carry the picture to the finish line.
  94. An ambitious but sub-ordinary SF epic in which, as so often, Willis is better than his material.
  95. The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
  96. 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.
  97. The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.

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