Time's Scores

For 2,081 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Double Indemnity
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
2081 movie reviews
  1. Witness, which is one of the most originally conceived and gracefully made suspense dramas of recent years, to work into edgy juxtaposition the representatives of two subcultures that are ordinarily mutually exclusive.
  2. There are a few longueurs, and moments when the plot trips, like Jeremy, over its own complications. But The Secret of NIMH is more important as Bon Bluth's declaration of dependence on a form of popular art that can infuse every corner of the imagination with its rainbow light.
  3. A technical knockout. [29 June 1987]
    • Time
  4. I have rarely, if ever, seen a documentary reconstruction of a historical event that is so rich in firsthand (and well-preserved) photographic material.
  5. 10 Cloverfield Lane...is not an outright Cloverfield sequel but rather, as Abrams has put it, a “spiritual successor.” It’s also a better movie, one with a sense of humor about itself and its genre.
  6. In his third consecutive Cronenberg film (after playing the righteous killers of A History of Violence and Eastern Promises), Mortensen is a happy surprise. Never has this tightly-wound actor seemed so relaxed in a difficult role; he is the charming papa Jung hates to overthrow but knows he must.
  7. Kidman, in a career-best performance, and Eckhart lend pitch-perfect calibration to the couple's shared and separate agonies. It's as if previous treatments of the subject were a series of failed experiments, and Rabbit Hole is the Eureka! moment.
  8. I don't think it attains the Godfather level -- it lacks dark passion and grand-scale irony -- but it is an intelligent, well-made and seductive movie.
  9. For Hackman embodies the energy and outrage the rest of this rather twee family lacks. Royal stirs them all to life, and this great, bumptious performance by an actor gleefully rediscovering his funny bone stirs us to appreciative life too.
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  10. Mud
    Glorious vision of youth and truth, love and loss, your name is Mud.
  11. If you see him (Jake Gyllenhaal)onscreen in Nightcrawler, you’ll have a closeup view of one of the movie year’s most compelling sociopaths. He’s something you can’t turn away from.
  12. Very simply, Bertolucci has found an elegance of design and execution that few of his contemporaries could even dream of. [23 Nov 1987]
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  13. Spinning in that wedding dress, or glaring in wary repose, Lawrence catches fire on screen.
  14. It's a cagey delight, and an imposing feature directorial debut for one of Britain's TV stalwarts.
  15. To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
  16. Whatever city this one is showing in...move there.
  17. Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
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  18. A wry, openhearted, vaguely outré romantic comedy, albeit a bittersweet one.
  19. That Greenberg has merits is undeniable. Gerwig, a funny mix of Kate Winslet and the joyfully ditzy young Diane Keaton, should end up a star. Stiller dials back his own schtick and deserves to be taken seriously.
  20. I finished Larsson's novel with the uncomfortable sense it used a good mystery as an excuse to dwell on sadism and perversity -- an aspect only exacerbated on screen.
  21. Disney is trying to lure the disparate audiences of "Harry Potter and the Goblet of Fire" (kids) and "The Passion of the Christ" (Evangelicals). But on either level, Narnia fails. There's no fire, no passion and not much fun.
  22. Sharing its subject's virtues, it is a lovely addition to the annals of the Greatest Generation.
  23. No goggles, no gloom. And no competition for the coolest, orneriest, funniest, best-looking movie of early 2011.
  24. No wonder adolescents have taken Repo Man for their own. Lifting its hood is like peering into a teen-ager's mind: miswired and noisy, Repo Man is capable of fast starts and amazing cornering. [4 Feb 1985]
    • Time
  25. Well acted and acutely observed, the film doesn't try to be a conventionally satisfying coke-land action film.
  26. If there is a hero in the new film, it is Donald Sutherland, who gives an energetic, intelligent, emotionally rangy performance as the public health officer working on the case. There is nothing wrong, either, with Brooke Adams as his colleague and lover. But, sadly, they can not compensate for all the other mistakes in a film that lingers too long and too soberly over material that, as the original showed, must be quickly, even superficially handled, if it is to be accepted at all.
  27. An elegantly polished little film.
  28. The result is a Big Mac of a movie, junk food that somehow reaches the chortling soul.
    • 75 Metascore
    • 90 Critic Score
    No deep solutions are suggested in this subtle and meticulously observed study. Yet Director Norman Jewison has used his camera to extract a certain rough-cut beauty from each protagonist. He has shown, furthermore, that men can join hands out of fear and hatred and shape from base emotions something identifiable as a kind of love. In this he is immeasurably helped by performances from Steiger and Poitier that break brilliantly with black-white stereotype.
  29. This feels the way a lot of us are living now -- on desperation's dull yet still cutting edge.
  30. The actors are supported by the best kind of writerly craft and directorial technique, the kind that refuses to call attention to itself, never gets caught straining for scares or laughs. Popular moviemaking -- elegantly economical, artlessly artful -- doesn't get much better than this.
  31. The story wraps up with a tenderness that feels true but completely without mush. The irony of the title fades as Win Win wins you over.
  32. We have this movie--full of acceptant, sidelong glances at human quirkiness--to delight us.
  33. A small epic with subtle strengths.
  34. A tangy frappe of a movie--preposterously comic, deliriously romantic, outrageously stylish in black-and-white.
  35. Instead of exploring something bigger, like the origins of Bernie's need for the company of elderly ladies (which Hollandsworth touched on in Texas Monthly; Tiede lost his mother at age 3 and his father at 15), Linklater limits the story and mood to black comedy.
  36. This might be a turning point in feminism and comedy, provided that both sexes can embrace it.
  37. A delicate counterpoise of passion and restraint, The Invisible Woman is a major work in a minor key.
  38. During the movie's best moments, I recalled exactly what my long-gone father's roars of laughter sounded like. Was it the joyous lunacy of "Mahnamahna" that used to set him off?
  39. Out of a borrowed and preposterous premise, Audiard has fashioned a film that is more haunting--and more compellingly watchable--than it has any right to be.
  40. This darkly sumptuous, hypnotically complex movie ought to have many constituencies.
  41. This wonderfully animated movie is a little more softly pitched than its predecessor, but it still has plenty of rollicking spin on the ball.
  42. The movie is not just spectacle; it's got a tender, ultimately tragic love story and enough deadly political scheming to fill a Gaddafi playbook. Indeed, in its narrative cunning, luscious production design and martial-arts balletics, Detective Dee is up there with the first great kung-fu art film, King Hu's 1969 "A Touch of Zen." We'd call it "Crouching Tiger, Freakin' Masterpiece."
    • 75 Metascore
    • 90 Critic Score
    As McCarthy and Byrne carry on a filthy volley of insults (with what is surely secret sisterly glee), Feig keeps his Spy machinery cranking so smoothly that nothing said or done feels as outrageous as, in fact, it is. The truth serum Spy drops into our fizzy drinks makes us feel so good that we don’t even realize we’ve been schooled.
  43. John Wick: Chapter 2 has style to burn, and oh! what violence — terrible, bone-crunching, glorious violence, beautifully orchestrated by director Chad Stahelski.
  44. 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.
  45. Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.
    • 75 Metascore
    • 90 Critic Score
    Everything about The Wolfpack is extraordinary.
  46. Little Children does not have quite the bleak discipline of Field's more keenly judged "In the Bedroom." Yet it is a more ambitious film and a considerable achievement.
  47. A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
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  48. By buying the pitch that its central character’s escapades were the stuff of mesmerizing drama or comedy, Scorsese, Winter and DiCaprio reveal themselves as dupes — the latest in a long line of clever folks swindled by Jordan Belfort.
  49. It’s that rare superhero movie that doesn’t grind you down with nonstop action or, worse yet, the usual tiresome cavalcade of smart-ass wisecracks.
  50. Stand By Me is a shuck. It trumpets its sensitivity while reveling in coarseness. And at its climax it suggests that manhood can be found through the barrel of a gun. Maybe this is how Rambo discovered puberty. Maybe real kids should be discouraged from following his example.
  51. This criminal comedy remains deliciously deadpan about the wages of psychopathy.
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  52. This gripping documentary doesn't exactly say what went wrong, but the pain and puzzlement of its principals as things inexorably fall apart is palpable and saddening.
  53. Seems to encompass all the humor, sadness and weirdness of ordinary life in an utterly winning, morally acute way.
  54. To make an unembarrassing movie about embarrassment is definitely an eye-opening achievement.
  55. What a pleasure it is not to be hectored by a director as we laugh our own little laughs, watching a profound story unfold.
  56. Results in about the nicest movie you could ask for at the holidays: a gently funny, sweetly adventurous film that makes you feel genuinely good, that is to say, entirely unconned by false sentiment or sharp, overmanipulative Hollywood practices.
  57. Side Effects virtually demands a three-word review: Just see it.
  58. After that kick-ass opening, the picture devolves into an action-action-plot-action-plot-action monotone.
  59. 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.
    • 75 Metascore
    • 70 Critic Score
    In the way of most Apatow films, Trainwreck is a little too long, a little too shaggy and a little too conservative in insisting that all’s square in love and war.
  60. 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.
  61. Okja takes the worst impulses of Walt Disney, Wes Anderson, Tim Burton and Michael Moore and rolls them into one movie.
  62. Mother! is ambitious and dorky, like a Hieronymus Bosch painting redone as swirl-art. It’s entertaining to watch, because it’s not easy to see where it’s going—though you might feel a little underwhelmed when you discover where it ends up. The main reason to keep watching is Lawrence, receptive and radiant.
  63. 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.
  64. 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]
    • Time
  65. As both harangue and movie tragicomedy, Sicko is socko.
  66. 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.
  67. 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."
  68. 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.
  69. 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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  70. 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.
  71. Both horrifying and hopeful.
  72. 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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  73. 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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  74. Everything finally came together under the sensitive directorial hand of, yes, Francis Coppola. The supporting cast is splendid. The film's occasional lapses never puncture the airy tone; they are easily forgiven, like Peggy Sue and her friends, whose only sin was to grow up. This prom-night balloon of a movie floats easily above the year's other exercises in '50s nostalgia. If you dare reach for it, it will land smartly in your heart.
  75. Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
  76. 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.
  77. 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.
  78. Doesn't offer much.
  79. A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.
  80. This is rapture in pictures. [22 December 1997, p. 81]
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  81. This Pooh, which takes its gossamer plotlines directly from A.A. Milne, will be a boon to parents of very small children everywhere.
  82. 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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  83. An excellent film. [16 Jan 1989, p.64]
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  84. The film is one-note; misery is the only game in town.
  85. The actor (Puri) and the film make something fine, winning and memorable.
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  86. The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  87. Hidden Figures, both a dazzling piece of entertainment and a window into history, bucks the trend of the boring-math-guy movie.
  88. 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]
    • Time
  89. As director, Farmiga is a strong believer in cinematic democracy, allowing the other actors to seize the center of the action and the frame.
  90. 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.
  91. 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.
  92. 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."
  93. The scariest romantic comedy of the year.
  94. 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?
  95. Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
  96. It provides intimate glimpses of people usually seen, and then only briefly, as faces on a post-office wall or numbers in a cemetery.

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