Time's Scores

For 1,801 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Cars
Lowest review score: 0 Jack and Jill
Score distribution:
1801 movie reviews
  1. Maybe these lives are, objectively speaking, inconsequential. But they have a resonance that big, sappy "relationship" pictures ought to envy.
  2. A raw, unblinking film. It teaches that in dire circumstances our only obligation is to our own survival; all else -- culture, ideology, even love -- is a dispensable luxury.
  3. So here's a tip for those attending this handsomely acted, epic-length little film. Ease into the sleaze, stare at the party animals, look but don't touch, and, oh, boogie all night. [October 6, 1997]
    • Time
  4. I wouldn't call the film inspirational -- it is too well observed to succumb to easy sentiment -- but its realism is patiently engaging and subtly insinuating. And Linney and Hoffman are extraordinary.
  5. This enthralling, enigmatic, romantic drama from Asia's most influential auteur (Chungking Express) is an essay in appetite and inhibition.
  6. Raiders of the Lost Ark has it all—or, anyway, more than enough to transport moviegoers back to the dazzling, thrill-sated matinee idyls of old. It is surely the best two hours of pure entertainment anyone is going to find in the summer of '81.
  7. It's hard enough to find comedies like this at any time, so it's a small and welcome miracle to come upon one in the midst of a typical movie summer.
  8. An austere and delicate examination of the ways in which a likable family falters under pressure and struggles, with ambiguous results, to renew itself. This is not very show-bizzy stuff, but for once, a movie star has used his power to create not light entertainment or a trendy political statement, but a work that addresses itself quietly and intelligently to issues everyone who attempts to raise children must face.
  9. At two hours, the film version is a third the miniseries' length, requiring severe compression by screenwriters Peter Straughan (The Debt) and Bridget O'Connor, which they've accomplished smartly.
  10. All attitude and low aptitude.
  11. Sublime and sorrowful movie.
  12. Hero is the masterpiece. It employs unparalleled visual splendor to show why men must make war to secure the peace and how warriors may find their true destiny as lovers.
  13. It has many of A Separation’s strengths — the acute observation of complex characters in a story that keeps unpacking surprises — but they have become familiar. They lack the revelatory wallop of the first film.
  14. A smart live-and-let-live parable.
  15. If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
  16. What makes this movie work is the kind of cool that made Get Shorty go so nicely: an understanding that life's little adventures rarely come in neat three-act packages, the way most movies now do, and the unruffled presentation of outrageously twisted dialogue, characters and situations as if they were the most natural things in the world.
    • 85 Metascore
    • 70 Critic Score
    The pace sometimes flags, and there are scenes in which the comic potential appears to be lost only because the camera is in the wrong place. Farce isn't easy to pull off, but Mr. Almodovar is well on his way to mastering this most difficult of all screen genres.
  17. It's a deceptively small piece of onscreen art that resonates afterward with such insistence that I felt positively nagged by it.
  18. It's an exhilarating trip of movie madness and sadness.
  19. It seemed to me as I left the theater that A Christmas Tale was a little too jumpy for its own good, with too many characters and plot points hastily interwoven. But I've come think that it is faithful to its essential purpose, which is to disprove the Tolstoyan dictum that unhappy families are each miserable in their own ways.
  20. Droll, reticent, flawlessly filmed fable of generosity.
  21. Cheers for a Cannes director who has infused his technical mastery with radiant life. In the Museum of the World of Wes Anderson, the dolls are dancing.
    • 84 Metascore
    • 30 Critic Score
    Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, their scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.
  22. Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.
    • Time
  23. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
  24. Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.
  25. All the actors in No Man's Land are wonderfully alive, fractious and unpredictable. Their performances also help break down the schematics and turn this into an emotionally potent, powerfully thoughtful and finally tragic experience.
    • Time
  26. Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.
  27. A fanciful film with the patina of hyper-realism, Looper is well served by actors who behave not as if they were dropped carelessly into the future but spent their whole desperate lives there.
  28. It is the hilarious business of Shrek, a delightful new animated feature based on the William Steig book, to subvert all the well-worn expectations of its genre.
    • Time

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