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 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,713 movie reviews
  1. Ferrell fits uncannily well into Carver country, and in this small but sturdy film, he challenges any assumption that he might be limited to comedy. Certainly this is the first time he's moved me to tears that weren't produced by hard laughter.
  2. If the ending of Eleanor Bergstein's script is too neat and inspirational, the rough energy of the film's song and dance does carry one along, past the whispered doubts of better judgment. [14 Sept 1987]
    • Time
  3. Engrossing and inspiring, despite being the kind of movie in which one of the first words you hear is cheeky.
  4. Too bad that First Class torpedoes its lofty intentions with flights of idiocy so wrongheaded as to be almost endearing.
  5. Sells out real satirical possibilities to its marketing potential as teen fluff. Everyone loses -- except Hedaya, who keeps faith with his character's nutsiness.
  6. A fairly standard exercise in claustrophobic menace. It is also an exercise in style.
  7. This spectacle of strenuous improvising is more stunt than true experiment.
  8. It's a cocktail-party movie with a Molotov-cocktail finish: a tribute to the 88-year-old auteur's artistry - and his con artistry as well.
  9. In a brief review in Time magazine this week, I gave Dan a gentleman's B-. Let me try to remember why. Because the pressure of keeping his ardor secret turns Dan pleasingly cranky.
  10. Shaggily amusing but familiar and way-too-long.
  11. It is very tiresome peering through the gloom trying to catch a glimpse of something interesting, then having to avert one's eyes when it turns out to be just another brutally tormented body.
  12. Our natural sympathy for the Carmichaels is sabotaged by crude and careless moviemaking.
  13. Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
  14. My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
  15. These people are fools for heedless love and, perhaps, needless complication, and you can't help responding to the heat of their passion.
  16. Sleepy Hollow may be late for Halloween, but this trick is a real treat.
  17. The Merchant-Ivory attention to period detail often seems like the movie equivalent of good penmanship. But here it accrues a kind of ethical eloquence.
  18. It's a feast for the eyes, but we're still hungry.
  19. An idiot-savant movie, knowing but not smart.
  20. Stuff still leaps out of the screen -- the snake striking a victim, cars sent flying by Death Eaters -- but few things in the movie lodge in the audience's mind or heart.
  21. Bad 25 is an intimate view of a performer at his peak in the intense splendor of creativity.
  22. Farrell's work as Syracuse is understated to the point that some may find it unremarkable -- but it's a beautifully confident performance, an irony given that he constructs his portrayal of Syracuse around the concept of humility.
  23. The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
  24. Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.
  25. The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
  26. Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
  27. Murphy exudes the kind of cheeky, cocky charm that has been missing from the screen since Cagney was a pup, snarling his way out of the ghetto. But as befits a manchild of the soft-spoken '80s, there is an insinuating sweetness about the heart that is always visible on the sleeve of Murphy's habitual sweatshirt.
  28. The movie unfolds with novelistic pacing for a leisurely but engaging two hours.
  29. You get 45 minutes of awesome encased in 90 minutes of yawnsome.
  30. Seduction is more important than deduction in this chic display of star quality to the eighth power.
  31. The summer's zazziest action movie.
  32. Van Damme has been known as a martial-arts legend, movie star and pain in the ass. But never an actor -- until now.
  33. It doesn't look particularly special - despite the visual potential of underwater scenes - but kids are going to eat this up.
  34. This cheeky movie does not impose heavy-duty meaning on Page's life and times. It just lets us draw our own ambiguous conclusions about what she did. It is the better, the more enticing, for so doing.
  35. I wanted very much for West's new movie to evoke films like "The Others" or "The Orphanage," which made me, in the moment at least, a believer in ghosts. The Innkeeper's payoff lacked that kind of oomph, and weirdly, the pairing of Luke and Claire brought movies about work relationships, like "Clerks" and "Office Space," more to mind than ghost stories.
    • 64 Metascore
    • 60 Critic Score
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
  36. Enigma is not for everyone, but the thoughtful (and the historically minded) will find it an absorbing and extremely well-textured experience.
    • Time
  37. Unfolds with a patient intelligence. The Sixth Sense might not scare you out of your wits, but it could reward them.
  38. Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
  39. There is none of the affectionate respect for working-class life and values that marked the similar, and far superior, "Norma Rae," nor any of that film's sense of felt reality either.
  40. Beautiful Girls is always in touch with reality but never drowned in it. [19 February 1996, p.64]
    • Time
  41. But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
    • Time
  42. Quite a good movie--a big, fat, rousing, intelligent, daring, retro, many-adjective-requiring entertainment.
    • Time
  43. The real kick, however, is in the grandeur and detail of the production design, by Jim Dultz and David Rockwell.
  44. If sometimes this loose and anecdotal film loses dramatic pace, it always rights itself. And it remains steadily in touch with its best qualities - generosity, common sense and a mature decency that is neither smug nor sentimental.
  45. I don't want to oversell You Kill Me. It is not going to leave you breathless with laughter. But I don't want to undersell it either. For an hour and a half it exerts its own preposterous reality, making you believe it -- and like it.
  46. Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
  47. Brideshead Revisited is untaxing, pleasant enough to watch. But I'm still waiting to be seriously discomfited by it.
  48. Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.
  49. World War II was a historical event, but also a movie genre, and Fury occasionally prints the legend. The rest of it is plenty grim and grisly. Audience members may feel like prisoners of war forced to watch a training-torture film.
  50. So here's my second and final verdict on the movie: it's as captivating as its heroine.
  51. Patient and plodding -- but as realized by John Malkovich, in his directorial debut, utterly absorbing.
  52. The Road to Guantánamo is his (Winterbottom’s) most unsparing statement yet of war's brutalizing effect on both the prisoner and his jailer.
  53. Though this Nick and Norah have a lot more angst, they're just as worth watching, admiring and cuddling up to.
  54. The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
  55. Made with a sort of tasteful vulgarity, this movie never disappoints the slack-minded audience's anticipation of the humanistically healing banality, the life-crushing behavioral cliché.
  56. Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  57. It has the slapdash air of a movie that was a little more fun to shoot than to watch. To say that Blades is a little sharper than "Kicking and Screaming," but not nearly so smart as the best parts of "Talladega," is like taste-testing a Big Mac against a Whopper and a Wendy's Classic Double.
  58. The film's director, Kevin Macdonald, who did "The Last King of Scotland," is not a flair fellow. The chase scenes interpolated into this version have no special oomph; the encounters no residual kick. Paging Ridley Scott? Oh, sorry, too late. So there it is: another film that can't compete with a TV show.
  59. But it IS a movie about dopes: goofy guys, born without the ambition gene, and who would not survive a minute in the drug world, or the real one, without the guardian angel of a scriptwriter hovering to think them out of scrapes.
  60. It's good to spend time with a movie that takes its time. Granted, Harris doesn't advance the genre; instead he burrows into it, finds a home there, as one might retreat to musty library stacks, where old pleasures and treasures await.
  61. It’s as if von Trier shot the main scenes while in one of his famous depressive funks, then edited the film in a more cheerful, impish mood. At times, the tantalizing mixture of sexual neurosis and wayward humor in this memoir of a woman of pleasure suggests a collision between "Fanny Hill" and "Annie Hall."
  62. It parades a screen chemistry rarely seen since the original Butch and Sundance.
    • 64 Metascore
    • 70 Critic Score
    DiCaprio, here as in "The Departed," proves himself the most watchful and watchable actor of his age. Since his teens, he has known how to make moral dilemmas seem both profound and sexy, and at 32 he just keeps getting better.
  63. Like some silly summer song that can't be shaken from the mind, this is a catchy enterprise, no better than it tries to be and no less funny.
  64. Proof is on the side of the lost, blessed souls. Paltrow, as alluring and reassuring as ever, emphasizes the blessedness in the isolation of genius, giving a new dimension to a complex role. New, true and thrilling--she is the Catherine that Proof was waiting for.
  65. Robots goes for a color scheme that is cool, muted, instantly aged. Director Chris Wedge wants the eye to concentrate on the gags he and his writers (including veteran comedy craftsmen Lowell Ganz and Babaloo Mandel) have stuffed into the film.
  66. At 2 1/2 hours, it all plays like the rough assembly of a 90-min. caper film--an anecdote told at epic length. Grier, foxy lady of '70s blaxploitation, is given little chance to radiate. [22 Dec 1997, p.80]
    • Time
  67. Agreeable but never compelling, Silverado proves it takes more than love of the western to make a good one. Maybe the dudes at K-Tell were a mite too slick for the job.
  68. This is a Cuisinart of a movie, mixing familiar yet disparate ingredients, making something odd, possibly distasteful, undeniably arresting out of them. [5 Dec 1994, p. 93]
    • Time
  69. True to its grim prospectus, The Grey dwells in haunted machismo to the very end.
  70. Though we still believe that Lawrence, who turned 25 in August, can do no wrong, she isn’t given much opportunity to do anything spectacularly right here. Her performance is a medley of sobs and gasps, in mournful or radiant closeup. This time, her Katniss is as much a prisoner of her circumstances as Peeta is. She and the movie are both victims of burnout.
    • 63 Metascore
    • 90 Critic Score
    It also accomplishes that rarest achievement, the breathing of life into an ossified art form. The '70s has its first great epic.
  71. Rumble Fish is the messiest, most provocative inkblot of the year.
  72. Writer-director Shainberg seems to be aiming for a dark comedy, but mostly his movie is coy without being funny, ugly without being truly transgressive, stupid when it needs to be smart.
  73. Colombani has created uncommonly arresting entertainment.
  74. It has everything you want in an epic: sweep, scope, wild reversals of fortune and plenty of bold, basic emotions.
  75. Not since "This is Spinal Tap" have I had such a good time watching amiable idiocy stumble on toward uncertain glory.
  76. Pacino seems to recall, from his early Michael Corleone days, the power of whispered menace.
  77. The battle skirmishes here mix sudden violence with slow-motion artistry. The attractive cast can sell an obsession or articulate a conundrum with equal fervor.
  78. Knightley embodies Anna as a girlish woman who has never felt erotic love; once smitten, she is raised to heavenly ecstasy before tumbling into the abyss of shame. It's a nervy performance, acutely attuned to the volcanic changes a naive creature must enjoy and endure on her first leap into mad passion. She helps make Anna Karenina an operatic romance worth singing about.
  79. The screenplay, with credits shared by Gluck, Keith Merryman and David A. Newman, is predictable, plotwise. But it is elevated by energetic dialogue, the sexual chemistry between the leads and the fact that the miscommunication that keeps bliss at bay - there's always one in a rom-com, and usually it is annoyingly unbelievable - is plausible.
  80. Alive to the--yes--sometimes humorous, and therefore humanizing, struggles of the slaves and their would-be rescuers to surmount the language and cultural barriers that separate them. [15 Dec 1997, p. 108]
    • Time
  81. Cotton is that rarity in the horror genre: a genuinely intriguing character.
  82. It's worth considering precisely whom the movie is meant for. It's not labeled as such, but It's Kind of a Funny Story is squarely aimed at young adults.
  83. Sensitive souls in search of wrenching emotion can be guaranteed their Kleenex moments; you will get wet. But aside from that opening scene, you will not be cinematically edified. This is a bad movie.
  84. The movie made me laugh as much as anything since "The Hangover" or the love scenes in "Avatar."
  85. In its purposeful accumulation of depravities, both individual and institutional, the director's non-style has an honorable payoff that's rare in modern Hollywood cinema: the story's weight could come close to burying you in despair.
  86. This is an original work in an antique mood. The actors and authors all have fun with the genre without making fun of it. Rather, they revive it.
  87. An expensive flop and the latest Iraq movie to be shunned by the mass audience, Green Zone was still the year's most visceral, thrilling entertainment.
  88. On the whole, the eek-for-yuks trade-off is more than fair--hip without being campy or condescending to one of the better movie franchises. [1 Dec 1997, p. 84]
    • Time
  89. "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.
  90. The result is tiresome and tone-deaf and a disappointing comeback for Bogdanovich.
  91. Rio
    If you don't go in panting for a Pixar-level masterpiece, you should have a blast at this cartoon carnaval.
  92. Here’s the oddest element in this tale of Hollywood fine-tuning run rampant: the movie is pretty good — the summer’s most urgent, highest-IQ action picture.
  93. Whereas Italian fashion icon Valentino was larger than life in "The Last Emperor," Matt Tyrnauer's jazzy 2009 documentary, Saint Laurent in L'Amour Fou is mostly a rather sweet and anguished ghost.
  94. For a viewer sympathetic to Schwarzenegger's and Cameron's best selves -- the ironist with muscles and the mordant fabulist -- True Lies is a loud misfire. It rarely brings its potent themes to life.
  95. In ingenuity and charm, this DreamWorks offering isn't up there with "Kung Fu Panda," which remains the sharpest, fullest film from the studio. You may get the feeling that Megamind was made for, and possibly by, really smart six-year-olds. Nothing wrong with that; audiences of all ages can be tickled by the higher form of preadolescent humor.
  96. Either the Coens failed, or I didn't figure out what they're attempting. I must be like Harry or Osborne, pretending to a sophistication I lack. Burn After Reading is a movie about stupidity that left me feeling stupid.
  97. Curiously intense, alertly principled, refreshingly uncynical movie.
    • Time

Top Trailers