Time's Scores

  • Movies
  • TV
For 1,713 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Lord of the Rings: The Fellowship of the Ring
Lowest review score: 0 Jack and Jill
Score distribution:
1,713 movie reviews
  1. The movie explores the basic debate over faith, the idea that we can feel a sense of relief in cynicism realized and turn around and face the horror of our lack of faith in the next moment.
  2. Well-made fictions like Fatal Attraction prosper because they seem more persuasive than fact.
  3. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  4. A brisk and entertaining indictment of the Bush Administration’s middle East policies before and after September 11, 2001.
  5. An ideal play is degraded into an indolent film
  6. Whoever thought of having evil's final manifestation take the form of a 100-ft. marshmallow deserves the rational mind's eternal gratitude. But praise is due to everyone connected with Ghostbusters for thinking on a grandly comic scale and delivering the goofy goods, neatly timed and perfectly packaged.
  7. This anti romantic and anti-comic -- it's not as funny as Delpy seems to think it is -- movie may appeal to the dark side of your immune system.
  8. Niftily quirky.
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  9. Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
  10. Carano is her own best stuntwoman, but in the dialogue scenes she's all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire's heroine but its hostage.
  11. A Late Quartet serves as an acting showcase, particularly for Walken and Hoffman, and makes for an interesting study in artistic ego.
  12. This wee, discreet little movie has a certain rueful intelligence about the ways we rather carelessly talk ourselves into love--and out of it as well.
  13. 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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  14. It's a real and rare pleasure to see Costner and Duvall together -- these masters of intense passivity, who know how to be watched when they're listening.
  15. The new Panda has a bright palette, an amiable vibe and enough vivacity to keep kids entertained and any accompanying moms from bolting for "Bridesmaids."
  16. The Ides of March says that American politics, no less than Italian, is a beachfront property with sharks surfing the waves. That makes this skeptical, savory movie a fitting offering from Hollywood's suavest ambassador to Venice and the world.
  17. Can The Hunger Games, in the movie version directed by Gary Ross, successfully navigate the crossing from page to screen? Our answer: Eh.
  18. Watson makes a smooth matriculation from the England-made Harry Potter epics to this movie's thrifty, six-week Pittsburgh shoot.
  19. What is startling is how well While You Were Sleeping recaptures the true spirit of the best kind of modern fairy tale -- classic romantic comedy.
  20. Insanely funny, if occasionally out-of-control, black farce.
  21. As bustling and impassioned as the best Sturges and Capra movies, this one captures both the purposeful edginess of Administration Pooh-Bahs (Martin Sheen, Michael J. Fox, David Paymer and Samantha Mathis--nice jobs, all) and the isolation of the President. [20 Nov 1995, p.117]
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  22. A more sensitive Ferrell in a script that plays like Charlie Kaufman Lite: that should send up breakthrough and Oscar signals. It doesn't quite, though. The movie is clever, but a little too pleased with its own clockwork intricacy.
  23. It all sounds absurd and simplistic, but I dare you to watch the joyful delirium of the big dance number, set to an old Fred Astaire tune called "Things Are Looking Up," and not to feel an unexpected sense of rosiness. This movie may contain endorphins.
  24. Nowhere Boy is a surprisingly conventional film - adroit at weaving a time-and-place mood but way too rigid dramatically to bring the Lennon family dynamic to life.
  25. Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
  26. If the people responsible for A League of Their Own had tried just a little harder to avoid easy laughs and easy sentiment, they might have made something like a great movie. As it is, they have made a good movie, amiable and ingratiating.
  27. A modestly mounted, but curiously poignant little documentary... which somehow -- quietly, devastatingly -- shows and tells you more than you may perhaps want to know about the dehumanization implicit in the mighty, blighted Iraqi adventure.
    • 67 Metascore
    • 60 Critic Score
    Another fond sketch of losers from the down-scale version of Woody Allen.
  28. It’s an enormous, steroidal blast, and as much ingenious fun as a blockbuster can be.
  29. It proves that, at the end, he was still a thriller. Fans and doubters alike can look at the gentle, driven singer-dancer at the center of this up-close document and say admiringly, This was him.
  30. Somewhere has a lot of good impulses, and a salutary faith in an audience's patience; but the film's tone, in its script, performances and visual style, is studiously uninflected. It's a document of people seen remotely, maybe from outer space.
  31. Nearly a century after that black-and-white cartoon short, and 65 years after a “classic” animated feature that missed the mark, Disney finally got Cinderella right — for now and, happily, ever after.
  32. Ruby Sparks tries its damnedest to make a picture that seduces moviegoers into accepting it as their best imaginary friend forever. But the sweat shows more than the sparkle.
  33. The picture delivers the high-octane, testosteronic goods of a warm-weather smash, and maybe the first great film of the post-human era. It's just a shame that every theater showing this nonstop auto race, this animated car-toon, can't be a drive-in.
  34. This fine, persuasive movie will have to serve as his testament, and it's a fitting one. How many men can say they wrote their own epitaphs in their own blood?
  35. Very simply, World Trade Center is a powerful movie experience, a hymn in plainsong that glorifies that which is best in the American spirit.
  36. In Rapace, it has an actress who brings a memorable literary character to indelible movie life, as Vivien Leigh did for Scarlett O'Hara.
  37. Leaves a quiz show's quantity of unanswered questions. But it has the optimism and determination of a corporate whistle-blower. It makes us believe, for a moment, that it's possible to end-run the spirit of Enron.
  38. At its metallic heart, T3 is another chase movie -- one figure relentlessly tracking three others, mostly in cars, at high speed through implausibly underpopulated Los Angeles streets.
    • 66 Metascore
    • 80 Critic Score
    If anything, Whedon’s writing is almost too sharp. The characters are so finely drawn and verbally quick (they name-check Banksy and Eugene O’Neill) that they seem to belong to a different universe than the cartoonish one they find themselves in.
  39. The Coens are artists too, and their cool dazzler is an elegy to a day when Hollywood could locate moral gravity in a genre film for grownups. [24 Sept 1990, p.83]
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  40. Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
  41. It is impressive enough that Paltrow holds your eye as a parade of lovelies and virtuoso actresses (Greta Scacchi, Polly Walker, Juliet Stevenson) march past. But her finest trick is to provide a comic subtext to Emma.
  42. Solondz's most waywardly endearing film - his gentlest triumph.
  43. Yet despite all that boring talk, Dead Again is a hit, the late-blooming rose of a movie summer that was mostly mulch. [23 Sept 1991, p.73]
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  44. When in doubt, director Tony Scott ("Top Gun", "Days of Thunder") lets loose a spray of water, sparks and sweat-the signature flourish of this Helmut Newton of movie machismo.
  45. Through the actress's effort and her director's generosity, this book about an irresistible man becomes a movie about a remarkable woman. Madison County is Eastwood's gift to women.
  46. The movie is finally predictable, but it has connected with a generation that believes it has been saddled with the thankless job of raising its own parents.
  47. Small in stature but consistently entertaining, Seven Psychopaths is a vacation from consequence for the Tony- and Oscar-winning author, and an unsupervised play date for his cast of screw-loose stars.
  48. It points out what's missing in his (Oshii) approach: fluidity of character line, the subtlety of expression that brought humanity to a Warner Bros. cartoon duck or rabbit.
  49. The Informant! may end up closer to the non-starters. Its lunacy is too deadpan, and its denouement too drawn out, to appeal to those who liked the Bourne movies, or, for that matter, the Gore. But it's worth seeing, and a salutary achievement.
  50. Along with other cast members, Penn takes ages registering his stares and scowls, until the movie is finally not about gangs but about actors' attitudes. Dressed up in '80s street slang, this is a '60s exercise in Method excess. [18 Apr 1988]
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  51. Both actors are excellent--but there's something conventionally gimmicky about the way it plays its reality/unreality game.
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  52. For all the film's murky misdirections, it is very enjoyable. That's because Nolan's recreation of the illusionists' backstage world is so marvelously detailed, including as it does revelations of how some of their best tricks are accomplished.
  53. This is a good, serious and absorbing movie -- especially, perhaps, for a reviewer who is roughly Kepesh's age and, of course, eagerly evading the issues his story forces up.
  54. It is as cool and distant as the planet the Strangers come from. But, Lord, is Dark City a wonder to see. [2 March 1998]
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  55. On its own, Captain America is a modestly engaging little-big movie in the median range: well below the first "Iron Man," somewhat above "X-Men: First Class."
  56. This is moviemaking for people who don't much like movies unless they are -- you know -- "serious." It is visually inert. It appears to be taking up small-scaled, yet emotionally resonant issues, but does not actually define them sharply or bring them to firm conclusions.
  57. [Murphy] makes Trading Places something more than a good-hearted comedy. He turns it into an event.
  58. Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.
  59. But the most impressive thing is how, a few minutes into the film, you stop noticing Huffman's external transformations and start to focus on the character. Not that the external stuff isn't impressive.
  60. The film finally collapses under the burden of implausibility.
  61. The film dances; the heart sings.
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  62. Even when one of the pieces stutters, stammers or just lies deathly still, we are consoled by our knowledge that it will not trifle with us for very long. And by the fact that there is an excellent likelihood that it will soon be replaced by something more engaging.
  63. There is no rhyme or reason to this jumble -- except perhaps to stress Edith's endless self-victimization. This lack of narrative coherence naturally has the effect of distancing us from her story.
  64. Smaug is different: a really good movie, superior to the first in that it brings its characters to rambunctious life.
  65. The looming presence of that planet and its possibilities turns Another Earth into a metaphysical treat, with influences that range from Krzysztof Kieslowski's "The Double Life of Veronique and Blue" to Andrei Tarkovsky's "Solaris." It's the most soulful art movie of the summer.
  66. The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
  67. So appealing is Gordon-Levitt that, for great stretches of his new movie, I suspended my disapproval of his character and just went with the nonstop flow. He almost persuaded me that the film is, if not a premium rush, then an economy high.
  68. Its business is to turn sure-thing expectations into a game of chance, and provide us with that rarity--a genuinely eccentric yet deeply insinuating film.
  69. The movie is ridiculously over the top, inelegant and so defiantly ?crazy?that it works, reminding you how fun gore and creatures that go bump ?(and? grind) in the night can be. It's a sci-fi horror film, but no actual ?comedy?has made me laugh as much this year as Splice.?
  70. The result is a well-tooled machine chugging coldly along a twisting road to nowhere.
  71. The overall metaphor Weir was aiming for - this idea of enemies so powerful and a war so menacing and confusingly big that no place seems safe except a place absurdly far away - comes through clearly and stays with you.
  72. M:i:III accomplishes its mission: to run smart variations on dumb tropes. After all, summer movies are not for students but for thrill consumers. Devour and enjoy.
  73. Jennifer Jason Leigh's draggy performance as Parker is all studied accent (something vaguely mid- Atlantic but never before heard on Earth) and equally studied self-pity and it cannot sustain our sympathy, or our interest in this inept film.
  74. None of this is new to us, but Garfield and Webb make it feel convincingly fresh and exciting.
  75. A spirited, irreverent and hugely fun comedy.
  76. I don't want to scare anyone away, but Hope Springs, better than I expected, is a movie for grown ups that seems just the tiniest bit French.
  77. The word "mixed" isn't mixed enough to fit my response to this film.
  78. Can't touch the 1972 film's austere poignancy, and McElhone lacks the bewitching beauty of Natalya Bondarchuk in the original Solaris. But the project's gravity and ambition can't be denied.
  79. It feels as if it has been recovered from a time capsule, and what larger meaning it may have is anyone's guess. But it is way cool -- and funny -- in ways that more expensive comedies trying harder rarely are.
  80. Director Rodrigo Cortes intends us to feel trapped, twitchy and unhappy and at the same time, wildly grateful we're not actually in the box like Paul. I could do without that kind of guilt trip from a film.
  81. More a case history than a devious puzzle, the movie is like a story overheard from the next restaurant booth: for all your curiosity as to how it turns out, you're not likely to have much personal investment in the people.
  82. The director and his splendid cast assure that this tale about a strong little girl fighting to keep her family alive and together has both high art and a big heart, audience appeal and gut impact.
  83. Rain Man's restraint is, finally, rather like Raymond's gabble. It discourages connections, keeping you out instead of drawing you in. [19 Dec 1998]
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  84. Funny, hurtful, splendidly acted.
  85. This is a sad, subtle and very good movie, designed not so much to make you think, but to make you feel the impact of large events on little lives.
  86. The Debt is a little too gray and stolid - by which we may simply mean too true to its complex milieu - to qualify as scintillating entertainment. But at the end of a summer in which anything like reality was banned from movie houses, this gnarly political thriller has a tonic effect
  87. The lumpiness of The Good Lie’s progression – from infancy to adulthood, and from the horrors of war to gentle social comedy and back again – proclaims a respect for facts and truths that can’t be molded into a smooth narrative.
  88. The film may be manipulative in its construction, and cliché-ridden in some of the incidents it recounts, but it has a good, large heart.
  89. It is a serious, often hilarious peek under the rock where nightmares strut in $800 suits and Armageddon lies around the next twist of treason.
  90. Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
  91. How well do Bond's established conventions survive after a third of a century's hard use, the post-cold war deglamourization of espionage and the arrival of yet another actor in the central role? The short answer is, on wobbly knees.
  92. Dark, detailed and only really gets going when the gunplay starts.
  93. Ali
    A thoughtful epic is both a rarity and an oxymoron. But that's what Ali is, and you can't help being drawn sympathetically into its hero's struggle for mastery of himself and his era.
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  94. A.I. will beguile some viewers, perplex others. Its vision is too capacious, its narrative route too extended, the shift in tone (from suburban domestic to rural nightmare to urban archaeology) too ornery to make the film a flat-out wowser of the E.T. stripe.
  95. Well acted and, within its limited terms, well made, Gallipoli represents a failure of nerve as well as design.
  96. Williams locates a central truth, the contradictory allure of this utterly impossible woman - mercurial, vain, foolish, but also intelligent in some very primal way and achingly vulnerable.
  97. There are scenes in the new movie that seem like stretching exercises at a retirement home; there are garrulous stretches, and even the title seems a few words too long. But once it gets going, Crystal Skull delivers smart, robust, familiar entertainment.
  98. She's (Jolie) got what no other Hollywood woman even tries for, and which is embodied among recent international stars perhaps only by Hong Kong action star Michelle Yeoh: feminismo.

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