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 Bowfinger
Lowest review score: 0 Billy Madison
Score distribution:
1887 movie reviews
  1. Tedium overwhelms caring well before this endless film finally concludes.
    • Time
  2. The controversial film that is unbearable--and unmissable.
  3. Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
  4. Reveling in its ’70s milieu and in the eternal abrasion of sexy women and covetous men, American Hustle is an urban eruption of flat-out fun — the sharpest, most exhilarating comedy in years. Anyone who says otherwise must be conning you.
  5. It’s about love and poetry and dreams, and about the chance encounter that can close a wound with the magic efficiency of a tiny butterfly bandage. How you pour all of that into one movie is something of a mystery. But then, a good poem is always something of a mystery too.
  6. Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.
  7. Smartly crafted, impeccably acted, The Lives of Others packs a subtle punch, from its creepy first images to its poignant finale.
  8. The cast list is like a convocation of the Three Chinas: Taiwan's Kaneshiro, Hong Kong's Lau and the mainland's Zhang Ziyi. All are terrific, but the lady shines brightest.
  9. Even by the out-there standards of "Basic Instinct" and "Showgirls," Paul Verhoeven’s latest, Elle, is a thing to behold. Part thriller, part obsidian-black comedy, part cerebral firebomb, it’s confrontational, terrible and glorious. You almost can’t believe such a picture exists.
  10. Röhrig isn’t an experienced actor. In fact, he’s a poet and a former kindergarten teacher, living in the Bronx. But that could be what makes the performance so magnetic.
  11. Prepare to be riveted: No End in Sight, Charles Ferguson's first film, is without question the most important movie you are likely to see this year.
  12. It could as well be called Best Thing of Undetermined Species.
  13. A movie like Selma should be a relic in a time capsule from 1965, a clue to how well we heeded King’s words and how far we have advanced. Instead it is a reminder that the “American problem” has yet to be solved.
  14. Beyond its craftiness and impeccable craft, the film sparks a warm connection with the viewer. Like a smiling cavalier swinging into view to rescue an imperiled maiden, The Artist brings salvation to melancholy movie lovers. For here is that rare film indeed that offers pleasure beyond words.
  15. Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]
    • Time
  16. So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history. [Sept 24, 1990]
    • Time
  17. Kaufman may be counting on the audience's will, insistence and yearning to create a coherent love story from the shards and shrapnel he provides us.
    • 89 Metascore
    • 90 Critic Score
    Terse is the word for Eastwood's directorial style. It rarely editorializes; it doesn't emote or orate. It just tells the damn story of a soldier's honor, which means doing the job no matter the odds--indeed, no matter the mission.
  18. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time
  19. There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]
    • Time
  20. If this sounds like an old-fashioned sex comedy, it is -- sexy, for sure, and funny, in wild spurts.
  21. 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.
  22. Directing with a cool, steady hand that renounces shaky-cam the way Fletcher would denounce rock ‘n roll, and getting strong performances from his two leads, Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction.
  23. Huppert is extraordinary — she reveals everything even when you think she’s showing nothing — and she’s the perfect actress, right now, for Hansen-Løve’s fine-grained perceptiveness.
  24. There is a lunatic energy about it. Every once in a while, Chayefsky abandons the struggle to dramatize his ideas and has somebody, usually Holden, just turn to the camera and spout off. In those moments, his concern — and sometimes his mother wit — comes blazing through and the picture takes on a life not found in safe, sane, well-calculated movies.
  25. 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.
  26. 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.
  27. 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.
  28. Bridges knows just what he’s doing, and with the splendid West Texas waltz of a drama, Hell or High Water, British director David Mackenzie has given him the perfect hook on which to hang his hat.
  29. Up
    Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work.

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