Time's Scores

  • Movies
  • TV
For 1,656 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 4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Life During Wartime
Lowest review score: 0 The Women
Score distribution:
1,656 movie reviews
  1. Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
  2. This is a true-life heist movie, and the thieves not only got away with their billions, they're still doing business. Pay attention and blow a gasket.
  3. Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.
  4. Obvious, though, is the word for Hopper's direction. It amplifies to rock-concert level every pained plosive in Bertie's speech, forces certain characters dangerously close to caricature.
  5. Up
    Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work.
  6. If this sounds like an old-fashioned sex comedy, it is -- sexy, for sure, and funny, in wild spurts.
  7. Pixar's improved computer animation is up to all the demands of this excellent adventure.
  8. Director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic.
  9. The true, rare glamour of the piece is its revival of two precious movie tropes: the flourishing of words for their majesty and fun, and--in the love play between Fiennes and his enchantress--the kindling of a playfully adult eroticism.
    • 87 Metascore
    • 100 Critic Score
    Probably the bleakest, least sentimental study of the Mafia in Italian or American film history.
  10. A stylish, well-paced film with a good variety of moods and moves.
  11. The whole rollicking adventure zips along a mile a minute.
  12. In this film, however, he battles the elements and mortality with a thinking man’s resilience the equal of any astronaut, freighter captain or free man enslaved. That he fights fate on his own makes All Is Lost a signal film achievement and the capstone to a great star’s career. This is Ultimate Redford.
  13. What we come to care most about in writer-director Joshua Marston's film is how his heroine achieves the state promised by his title, Maria Full of Grace. Our emotional investment in her derives primarily from the astonishing performance of Moreno, 23.
  14. This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
  15. This year's miracle is called Tootsie. It is not just the best comedy of the year; it is popular art on the way to becoming cultural artifact.
  16. For all its brave beginnings and real achievements--its assault on western mythology, its discovery of a subversive sexual honesty in an unexpected locale--Brokeback Mountain finally fails to fully engage our emotions.
  17. It is indeed impressive; and we mean not just this solid, satisfying final film - in which the Potter saga reaches its climax, if not quite its emotional apex - but the entirety of producer David Heyman's blockbuster franchise.
  18. Ceases to be a cogent study of the disease of genius and devolves into two lesser creatures: an ordinary weepie and an Oscar contender.
  19. The most mature and satisfying work in a glittering, consistently surprising career.
  20. To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
  21. His performance is a canny portrait of leadership - part genius, part crazy guts, part dumb luck - and worthy of moving Pitt up to the playoff round of Oscar finalists for Best Actor. We'd put money on it.
    • 87 Metascore
    • 100 Critic Score
    For this movie stands to be something its predecessor was not, a megahit. And it deserves to be, for it is a remarkable accomplishment: a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore.
  22. You'll have to seek it out in its limited release, but no current movie is more worth the effort.
  23. A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"
  24. This high-IQ sermon is long but never lazy. Renouncing his tendency to make every movie take emotional flight, Spielberg sticks to the story as Kushner has artfully compressed it. Lincoln is brain food and, at another pivotal moment in American political history, an instructive feast.
  25. The rhythm of rural life has rarely seemed so lucid and luminous.
  26. What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
  27. Despite its elements of brutality, this is a buoyant hymn to life, and a movie to celebrate.
  28. Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.

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