Time's Scores

For 1,887 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: 65
Highest review score: 100 Edward Scissorhands
Lowest review score: 0 Collateral Beauty
Score distribution:
1887 movie reviews
  1. In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.
  2. I finally surrendered to the script's breezy intelligence and the movie's relatively mature sensibility. As for Emma Stone, she didn't have to win me over. She conquered me from the first A.
  3. The most inventive and entertaining family movie I've seen this year, packed with wickedly smart humor and joyful animation.
  4. First-time director Kargman triumphs by picking characters who largely defy expectations.
  5. May not be a totally riveting movie, but it is, in its gently insinuating way, a curiously rewarding one.
  6. This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
  7. A movie this implausible shouldn't be this dull.
  8. The result is mainstream moviemaking at its highest, most satisfying level.
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  9. There is a looseness to the dialogue that suits the mood of the story-each character gets his or her own bombshell (or two) to digest and has to figure out how to cope with it.
  10. It is among the best and most delicately managed films of the year.
  11. In a movie era remarkable for its reluctance to dramatize erotic intimacy, Shame merits praise for the dark energy of its sexual encounters.
  12. The film gives Jones (Oxford) a chance to take control of its emotional center, and she seizes it with spectacular subtlety. She proves that behind this Great Man movie is a woman – an actress – who’s every bit her man’s equal.
  13. Doctor Strange has one significant quality that most Marvel adaptations lack: A sense of humor about itself, which it wears as lightly as the most gossamer Cloak of Levitation.
  14. Nettelbeck is a sharp observer of life's surprises, and Gedeck has an appraising, intelligent beauty. Her Martha is like the film: tart on the outside, sweet on the inside, with a delectable aftertaste.
  15. When they get to canoodling and conniving, you won't ask for your money back.
  16. Neither jokes nor fast, flashy action can completely distract audiences from the failure to establish an authentic, rather than a purely conventional connection between Nolte and Murphy.
  17. Undefeated is well-edited by director Daniel Lindsay and beautifully photographed by his co-director T.J. Martin - the shacks of North Memphis look poetically disheveled as shot from a moving car - but it is telling that the coach emerges as the "star" of this documentary.
  18. Not just a ripping yarn but a powerful, poignant coming-of-age story.
  19. A true movie rarity: a brutally honest romance. If you loved "Sleepless in Seattle," you'll just hate it.
  20. There is delicacy and restraint in all these performances as they ease a far-fetched premise toward believability under Richard Pearce's clear, cool direction.
  21. [Pfeiffer & Demme] and a gang of co-stars have created a coherent farce symphony.
  22. Green shoots his groping lovers in the art-film style -- long takes, static frame -- but his tone isn't at all minimalist; it's achingly, breathtakingly romantic, like the old Hollywood love stories his kids have never seen.
  23. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
  24. Lowery stumbles, working too hard to squeeze a response from us.
  25. Perhaps the funniest movie for grownups so far this year.
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  26. What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
  27. Even when the movie sags and strains a bit in Act III, Clooney keeps it flying with old-fashioned movie-star allure. He's got it all: Cary Grant's looks and, inside, Bob Hope's snake-oil-salesman soul.
  28. It proposes that you can make an extraordinarily satisfying comedy without writing a joke. Subtly played and elegantly directed, this is an Adults Only movie in the best sense of the term.
  29. Those opening trailers are hilarious and devastatingly acute, but the rest of Stiller's film could be more a deconstruction of comedy than a display of it. The brain gets the joke; the ribs are untickled.
  30. The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
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  31. This is your basic, and very enjoyable, Disney princess musical, an empowerment tale to teach bright, dreamy girls how to grow to maturity - and outgrow the adults in charge.
  32. A furiously time-looping joy ride and the smartest action film of the early summer season.
  33. Despite some rough edges and language, this is at heart a beguiling fantasy of comradeship.
  34. I don’t think you could tell this story properly or honestly without being forthright about the horrors of the Pacific Theater, and as Gibson dramatizes them, they put Doss’ actions in jaggedly sharp perspective.
  35. There's evocative atmosphere in the period detail and perky faux-'60s tunes. A pity these are wasted in a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
  36. Ordinarily such trespasses against truth would be enough to condemn such a movie, but Rhames' gravity and grace, Voight's pinched anguish as he wills himself to do right, the moving work of actors like Don Cheadle and Esther Rolle do much to redeem this film for human if not historical reality.
  37. The best comic turns are by the Afro-Asian twins Keith and Kenny Lucas, whose timing is eerie and superb.
  38. By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
  39. 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]
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  40. Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.
  41. Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.
  42. One leaves the film neither hugely thrilled nor greatly awed, but with a pleasant sense of having caught up with old friends and found them to be just fine, pretty much the way one hoped they would turn out in later life.
  43. You may leave the movie with Seussian anapests dancing in your happy head. Here's mine: A treat for the eye, an epic event/ This film is delightful, one hundred percent.
  44. Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
  45. Well acted, and it achieves a strong, smart, engaging life of its own.
  46. Warrior's three principle characterizations are compelling - Nolte in particular gives a tempered performance as the shambling, sad-eyed wreck of a dad - but not enough to mask the film's lesser elements.
  47. Sleepwalk is oddly soothing, like a cup of camomile tea before bedtime.
  48. An epic-size, largely entertaining parable of repression and awakening.
  49. As much a dark, odd couple comedy as it is a quirky, efficient little thriller.
  50. As reversible misunderstandings grow into irreversible tragedy, it slowly dawns on you that this is a superior, heartbreaking film.
  51. The film is more than a murder mystery and more than a study in character conflict. At its best, it is an intense and complex portrait of an urban landscape on which the movies' gaze has not often fallen.
  52. This British film has the regal, clubby aura of Masterpiece Theatre. [21 July 1997, p. 70]
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  53. Like Crazy is a cinematic love potion and you leave it feeling bewitched.
  54. Sunshine is a trifle schematic. But it also makes you feel, quite poignantly, the crushing tides of history: heedless, inhuman--and tragic.
  55. In 2007, Jamie Foxx won Best Actor for his subtle performance as Ray Charles. Boseman exceeds that solid standard. Incarnating James Brown in all his ornery uniqueness, he deserves a Pulitzer, a Nobel and instant election to the Rock and Roll Hall of Fame.
  56. The result is an admittedly minor, but authentic, holiday treat.
  57. This is soft-gore porn, obvious in its strategies, witless in the play of its ideas, absurdist only in its pretense to seriousness.
  58. Hearts sinking, we are obliged to endure much pseudo-serious gabble as we head toward another painfully predictable triumph of the human spirit. There must be some better way of hunting our--and Oscar's--goodwill. [Dec. 1,1997]
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  59. Nolan's effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck--some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.
  60. Morris's manner of relating this story is very often quite inappropriate to its substance. It is a sordid and appalling tale and what it demands is almost an anti-style -- rough, crude, grim, technically poor imagery unrelieved by sleek, slick fancy work. If you are going to rub our noses in this ugliness, you must not let up until, perhaps, we have learned our lesson.
  61. The picture is worth catching for the delicate and toxic nuances of Rudd's performance. And one of its funniest corollaries is that it shows how hilarious and instructive a star this perennial supporting player can be.
    • 70 Metascore
    • 100 Critic Score
    The Walk is a visionary high-wire act.
  62. Arcand has a gift for witty dialogue but a weakness for force-feeding his story with sentiment. References to ancient holocausts and to 9/11 simply expose the intent of a director who will do anything to touch his audience -- with a sweet gesture or a cattle prod. And in a comedy of manners, that behavior is very impolite.
  63. Like its title -- blunt, thruthful, uncompromising. It is hard on an audience, even harrowing. But that's exactly what Martin Scorsese was put on earth to do.
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  64. The film mostly simmers.
  65. In this space epic, no one will hear you laugh.
  66. Samantha Morton, as Emmet's "mute orphan half-wit" of a girlfriend, is the sweet revelation. Rarely has a performer mined such complex and potent emotion from such simple materials: a smile, a shrug, an attentive winsomeness.
  67. It's just fine. Not great; just fine.
  68. It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
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  69. The modest pleasures of The Nice Guys lie not in following the wiggy story twists but in watching Gosling and Crowe mix it up and mess everything up.
  70. This film's manifold pleasures come in a series of small packages, with treats inside as tasty as they are unexpected.
  71. Gives its fine actors room to breathe and behave--and in Michelle Rodriguez's case, glow.
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  72. Diane Keaton, directing her first fictional feature, gets us safely through a movie that could have turned to mush at any moment.
  73. A serious film about the gnawing of conscience and the thirst for redemption, but the tone is so dispassionately vile it may leave viewers shaken or sick. [16 Nov 1992, p.95]
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  74. Doesn't aim too high or strain too hard; it is at ease inhabiting its pretty, miniature realm.
  75. There's no reason Banderas, after two Hollywood decades, couldn't do Robert justice; yet for a man whose mourning has turned to madness, he is strangely remote, lifeless, displaying neither rage nor poignancy. If Anaya is the heart at the center of the film, Banderas is the hole.
  76. This is high, and high-wire, melodrama. It's less soap opera than grand opera, where matters of love and death are played at a perfect fever pitch. And grand this Golden Flower is.
  77. Nichols and his once and current partner, screenwriter Elaine May, can make a funny, knowing, ultimately judicious film from the deliciously satyric satire.
  78. This Ed Wood is dead wood.
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  79. Steve and the movie still fly high through plot twists and cool stunts.
  80. Gere and Molina are themselves terrific as the con men.
  81. Chris Paine's documentary makes an unapologetic case for the car and an unofficial indictment of the forces allied against it.
  82. This is a declaration of love: The Opposite of Sex is the smartest, edgiest, most human and handsomely acted romantic comedy in elephant years.
  83. Faithful and bold adaptation.
  84. It may be a first film, but Labaki, employing a cast that is full of non-professional actresses, is a slick and knowing filmmaker. Her multiple plot lines are neatly braided and though her characters are conventionalized they are also charming and capable of surprising us.
  85. Harrelson rewards watching; he's no less potent at rest than when he explodes in calculated rage.
  86. That first movie raised the craft of torture to a low art. Expect no less in LW2, directed by Richard Donner and written by Jeffrey Boam. This installment features a surfboard decapitation, death by carpenter's nail gun, a bomb wired to a very sensitive seat ( and reduction of the Afrikaaner diaspora by about one-half. (24July 1989, p.53)
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  87. What Willis proves in Die Hard is that it is not one you can ease through, especially if your preparation runs more to body building than to character building. [July 25, 1988]
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  88. Their sweet, determined, gently understated struggle for fulfillment in a superstitiously conservative society makes this densely, deftly packed movie a quiet joy to behold.
  89. For a good hour, a very good first hour, the film efficiently accumulates small, terrifying incidents and images.
  90. This documentary, a gallivanting time trip through a bolder film era, is Herzog's final collaboration with Kinski: an act of love and exorcism.
  91. Jason Patric is the chief sleaze; Ben Stiller adds to his gallery of wormy guys; and Aaron Eckhart is the doleful husband who, when asked who his best lay was, unabashedly answers, "Me." [24 August 1998, p. 85]
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  92. Not for everyone. The plot is full of holes, and its language is worse than it has to be. But it has some swell supporting performances and a lot of vulgar inventiveness, and best of all, it plugs into -- and electrifies -- the mostly unacknowledged grimness that lies just beneath our holiday cheer.
  93. Makes everything Hollywood has lately done in the action genre look clumsy, dull and stale. It is a short, nonstop stuntfest that, by going back to basics and placing them on the screen with simple, breathless stylishness, turns what is essentially a lowlife movie form into something one is not embarrassed to call "pure" cinema--all energy, movement and high kinetic wit.
  94. Movies are often about so much more than what they’re about, and the riches of Louder Than Bombs—which borrows its name from a compilation album by The Smiths—lie in the way Trier reveals the secret fears and longings of nearly every character, showing, ultimately, that even when people fail to connect, that itself can be a kind of connection.
  95. Elegant and understated.
  96. Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
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  97. It's just possible that Tarantino, having played a trick on history, is also fooling his fans. They think they're in for a Hollywood-style war movie starring Brad Pitt. What they're really getting is the cagiest, craziest, grandest European film of the year.
  98. Poignant, troubling and altogether splendid new film.
  99. Babel is a movie that leaves you feeling limp and wrung out, but mysteriously moved by its vivid human encounters with the hot, tightly wired, chancy and coincidental world, ever capable of terrorizing us when we least expect it.

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