Time's Scores

  • Movies
  • TV
For 1,701 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 Zero Dark Thirty
Lowest review score: 0 Billy Madison
Score distribution:
1,701 movie reviews
  1. To make an unembarrassing movie about embarrassment is definitely an eye-opening achievement.
  2. What a pleasure it is not to be hectored by a director as we laugh our own little laughs, watching a profound story unfold.
  3. Side Effects virtually demands a three-word review: Just see it.
  4. But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
  5. The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.
  6. It appears to be a true reflection of her (Shelly) spirit -- eccentric, good-naturedly feminist, kind of funny and kind of sentimental. Despite its realistic setting in a small Southern town, it is much more a fable than it is a slice of authentic life.
  7. Most films today are afraid to try anything new. Natural Born Killers is an explosive device for the sleepy movie audience, a wake-up call in the form of a frag bomb. [29 August 1994, p.66]
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  8. As both harangue and movie tragicomedy, Sicko is socko.
  9. Plays like a vacation at a seedy seaside resort. The issue at hand - whether McKinney engaged in criminal behavior with Anderson - is of little moment; what's important is the personality of the lady in question.
  10. Some moviegoers may opt for an easier cinematic pleasure than this carefully crafted, discomforting look at familial misery in hyper drive, but it is the most provocative movie about parenting I’ve seen since "The Kids Are All Right."
  11. Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.
  12. It takes its place on the very short list of the unforgettable movies about war and its ineradicable and immeasurable costs.
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  13. Elia Suleiman's Divine Intervention is a cure for nagging ethnic generalities. This Palestinian sort-of-comedy has a sly wit that amuses and disturbs in equal, salubrious measure.
  14. Both horrifying and hopeful.
  15. Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
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  16. For its first hour or so, this upscale heart tugger motors along familiar trails. So ennobling -- and predictable -- in director Penny Marshall's fidgety rendering of a case study by Oliver Sacks. [24 Dec 1990, p.77]
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  17. Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
  18. The result is a film consistent narratively, confident stylistically and abounce with the quaint quality that animated both the hero and his times, something we used to call pep.
  19. There's a great story here, but Tucci's literate, civilized, wistful movie lacks savage impulse and refuses to show how mutual exploitation led to minor tragedy.
  20. Doesn't offer much.
  21. A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.
  22. This is rapture in pictures. [22 December 1997, p. 81]
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  23. This Pooh, which takes its gossamer plotlines directly from A.A. Milne, will be a boon to parents of very small children everywhere.
  24. A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]
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  25. Ultimately, Titanic will sail or sink not on its budget but on its merits as drama and spectacle. The regretful verdict here: Dead in the water.
  26. An excellent film. [16 Jan 1989, p.64]
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  27. The film is one-note; misery is the only game in town.
  28. The actor (Puri) and the film make something fine, winning and memorable.
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  29. The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  30. The movie has two other qualities you don't always find in films of this kind: a sense of humor and a sense of character. [15 August 1994, p. 61]
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  31. As director, Farmiga is a strong believer in cinematic democracy, allowing the other actors to seize the center of the action and the frame.
  32. The impact of this sisterhood fable on viewers should be as warm and rapturous as Olaf the snowman’s dream of summer. Child, teen or septuagenarian, you’ll warm to Frozen.
  33. It's rare to see an ensemble movie like this, so loaded with talented actors, in which virtually all of them get an opportunity to make an impression. Affleck is the boss and the star, but he knows how to share.
  34. Transcending Holo-kitsch, In Darkness is often a thrilling adventure picture - as if Anne Frank had found an "Inglourious Basterd" to help her make "The Great Escape."
  35. The scariest romantic comedy of the year.
  36. It will fascinate and possibly even delight cinephiles. Who does not enjoy gawking at accidents, particularly those in which there are no fatalities and the sad story unfolds in almost slow-motion clarity?
  37. Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
  38. It provides intimate glimpses of people usually seen, and then only briefly, as faces on a post-office wall or numbers in a cemetery.
  39. With Interstellar, Nolan’s reach occasionally exceeds his grasp. That’s fine: These days, few other filmmakers dare reach so high to stretch our minds so wide.
  40. Maurice (pronounced Morris) is all high-mindedness and good taste. It has no emotional tension or - heaven forfend - strong expression of frustration or need.
  41. Ward Serrill's feel-good doc, which covers seven years in the life of Resler's Roughriders, is hobbled by a narration so syrupy, it could be poured on pancakes. But the movie soars because of the sport's natural drama and its luck in finding a complex heroine.
  42. In Washington's finely shaded performance he's a low-pressure system, illuminated by distant flashes of lightning.
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  43. The better class of moviegoers will love Billy Elliot. And I loved hating it.
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  44. This movie does not fully separate itself from our admittedly low -- even slightly shameful -- expectations, does not become the pure documentary it might perhaps better have been.
  45. Damon, beefed up for the occasion, makes Pienaar a stalwart yet courtly figure. Freeman infuses Mandela's speeches with the same gentleness and gravity he's brought to his numerous God roles and the Visa Olympics commercials. But the real deity here is Eastwood, still chugging away handsomely in his 80th year.
  46. This is the rough cut of a good movie, and a splendid opportunity wasted.
  47. Sin City is brazenly, thrillingly alive.
  48. Take this Shower and feel refreshed; it's a cool dip on a hot day.
    • 74 Metascore
    • 80 Critic Score
    What's most captivating about Monster is that the camera never looks away and Metallica never hides.
  49. It is a tremendous downer when the second half of the movie shirks logic, defies its own established principles and raises more questions than it answers.
  50. Has a whirligig wit, and 11 songs crammed into its 67 minutes: that's more melodic content than in most Broadway musicals.
  51. The 80 minutes it spends on the atoll alone with Hanks make for engrossing storytelling. The film is less sure-footed back in civilization.
  52. Here's another warning: you may laugh yourself sick--as sick as this ruthlessly funny movie is.
  53. Boyle's ingenuity with the camera gives this fraught journey plenty of menace and pizazz.
  54. Japanese Story is a simple, austerely told tale. But there is something memorable, even haunting, about it.
  55. I think the central mistake of this film derives from its lack of irony, a sense it refuses to impart that the world may not be exactly as the zealous Christopher perceives it to be. The film needs at least to entertain the possibility that its protagonist was driven less by high principle than by lamentable screwiness. And we need to leave it carrying some sense of tragic consequence with us. Instead, we're simply glad to be finished, at last, with this annoying man-child.
  56. Mission: Impossible – Ghost Protocol is no "Fast Five."
  57. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  58. This movie is more emotionally remote than Salles' fine "Central Station." But it is starkly beautiful and says something potent to a world in which nations, like these families, engage in mindless blood feuds.
  59. It's a bright, engaging bauble with half a dozen Elvis Presley songs for Mom and Dad, and just enough sass -- Stitch sticks his tongue into his nose and eats his snot -- to keep the tweeners giggling.
  60. Sometimes engrossing, sometimes exasperating romance. In these scenes, Cotillard shows she doesn't need the validation of Cannes or the Academy. Her strong, subtle performance is gloriously winning on its own.
  61. This film is as smart and funny as its topic and its stars.
  62. It doesn't work. It is just a mess -- though the sound track, full of Dylan songs is, of course, good to hear. But it is not better than the track on Martin Scorsese's "No Direction Home" documentary of two years ago.
  63. If this were not such great American-vernacular moviemaking -- hilarious yet hypnotic -- one would be tempted to see something Greek in the tragedy that Ed never comprehends.
  64. Gere is being talked about as an Oscar contender - he's never been nominated. January is a long time off yet, but his name is certainly worth putting on the long list.
  65. In an amazing year for animation, The Princess and the Frog is up at the top. Go on, give it a big kiss.
  66. The film causes no tremors, only a hemi-Demme-semiquaver.
  67. Without question, the best crime movie of the year--and one of the best movies of any sort now playing.
  68. The Impossible is technologically a marvel - the tsunami experience is harrowingly believable - but also emotionally rich. I hesitate to use this term, since it is so often equated with hokey, but The Impossible is life-affirming.
  69. Intoxicating. [19 Dec 1988, p.78]
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  70. So long as Casino stays focused on the excesses -- of language, of violence, of ambition -- in the life-styles of the rich and infamous, it remains a smart, knowing, if often repetitive, spectacle.
  71. A grand and poignant movie epic about what is lost in war and what's worth saving in life. It is also a rare blend of purity and maturity -- the year's most rapturous love story.
  72. The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.
  73. A cheerful entertainment, suitable for kids and parents of the brighter stripe. It's just not Nick Park great.
  74. Declaration of War is about being under siege from illness, but there is light at the end of the tunnel. This modern-day Juliette and Romeo find their own tragedy, but are not poisoned by it.
  75. Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
  76. To Western eyes, this meandering parable registers as a perplexity and a disappointment.
  77. The pulse of Curtis Hanson's direction is lethargic; the comic bits are so slack and deadpan you could mistake the film for an earnest drama--an Afterschool Special for troubled kids and their pooped parents.
  78. It blends tension and emotion, computer wizardry and dramatic skill in a vigorous climax--and the most impressive, haunting final shot of the movie year.
  79. The first great movie of the summer.
  80. An exhilarating ride, start to finish. Edgar Wright and Simon Pegg set a high bar for this subgenre with "Shaun of the Dead," but Reese, Werner and Fleischer may have trumped them. This isn't just a good zombie comedy. It's a damn fine movie, period. And that's high praise, coming from a vampire guy.
  81. Even Galifianakis's pervy charm, and a deeply weird cameo by Mike Tyson, can't save The Hangover. Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon.
  82. Erin Brockovich is slick, grating and false. We bet it makes a bundle.
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  83. If Michael Lehmann's direction were a bit more astute, the movie could be the classic genre mutation it aims to be: Andy Hardy meets "Badlands." [17 April 1989]
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  84. Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
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  85. Ray
    If there were an Oscar for ensemble acting, Ray would win in a stroll.
  86. Layer Cake is a treat--especially if your taste in desserts is devil's food.
  87. I think Gonzo, which is wonderfully rich in historical footage, needs some skeptics, some voices suggesting that maybe, just maybe, Thompson was part of the problem, not the solution, when America flirted briefly with revolution (or was it merely anarchy?), leaving consequences that continue to resonate today -- and not always to our advantage.
  88. This memory piece, shy in manner but tough in spirit, has brought out the best in everyone connected with it.
  89. Remarkable. [22 July 1991]
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  90. Funny in its deplorable way.
  91. A slam dunk in the genre, satisfying every period piece craving: torrid affair, mad king, bastard child, throngs at the palace gates and a history lesson that will be fresh to many.
  92. Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
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  93. Given a budget that encourages their kinesthetic skills, the filmmakers tend to go on a bit, but it's mostly a kind of quick, glancing hipness that's being indulged here.
  94. The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
  95. Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
    • 73 Metascore
    • 60 Critic Score
    Director Richard Eyre and screenwriter Patrick Marber keep forcing us past disbelief and into the perverse pleasures of nastiness. If nothing else, their film is the perfect antidote to all those warm, forgiving schoolboy dramas we've endured through the years. This corn is not green; it is rotten down to the last kernel.
  96. Go
    Here is a picture that has wit, a hairpin-turn narrative, high pizazz and ensemble star quality. Ready, set, Go.
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  97. Can one recommend this unblinking film to the average moviegoer, out for a good time? Only in this way: if James and his crew can spend years with these blighted souls, surely you can spend two hours with them, exploring compassion's outer limits.
  98. Kids may be puzzled by rebellious worker ants chanting Marxist slogans, but their parental guides may welcome the relief from the prevailing blandness of family films. [Oct 12, 1998 v152 n15 p116]
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