Time's Scores

For 2,123 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% 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: 66
Highest review score: 100 Working Girl
Lowest review score: 0 Billy Madison
Score distribution:
2123 movie reviews
  1. AP2 starts out bright and clever--shagnificent, we might almost say--before sinking into a swamp of shagnation.
    • Time
  2. The film is full of sharp acting and home truths, but its ambition to be different finally surrenders to its need to be loved.
  3. Savages isn't great cinema, but it's a very alive movie about people who probably ought to be dead.
  4. Loutishness without self-awareness remains loutishness--and it is finally depressing.
  5. In this climate, turning even a small corner of this century's central horror into feel-good popular entertainment is abhorrent.
  6. Slick and senseless.
    • 59 Metascore
    • 70 Critic Score
    The action sequences succeed in transporting one out of the theater and into a landscape of savagery and survival.
  7. In the end, I, Robot is just an assembly-line product of a not very advanced model.
  8. No deep thoughts here; this is a product of shiny surfaces and glittering patter, the cinematic equivalent of a derivatives offering. Instead of whacking Wall Street, Stone gives it a poke that ends up as a tickle.
  9. Weisz is a dazzling woman, but her beauty is barely noticeable in this role; her character's integrity and her mounting anger grab all the attention. In one scene Kathy finally confronts what she's up against and starts to cry. They are tears of rage, and the most powerful I've seen this year.
  10. It is truly something to see; for among all the lives to be ruined it is a visual rhapsody, attentive to every nuance in the spectacular land and foliage around the family home, following the lives within as meticulously as it traces the dramatic changes in weather — from clear day to torrential showers — in one of the longest, most intricate and beautiful tracking shots in cinema.
  11. The filmmakers throw in a few cheesy scares: mom in a monster mask, a baby sitter jumping in front of a camera. But the rest is pretty freaking cool.
  12. Reynolds can't help looking rather shifty as he relates his story and Breslin, who was so wonderful in Little Miss Sunshine, is obliged to play a standard-issue wise child.
  13. As the movie goes on, the laughs are fewer and farther between, and for the last 30 minutes, not only did I not laugh, I wanted it to end so I could get back to my own boring but less precious life.
  14. Handsome, well-acted, richly textured adaptation of Alexander Pushkin's novel.
  15. It's only when it takes an unfortunate wrong turn from playful wit into the dramatic and sentimental - Hallström's speciality - that the movie starts to unravel.
  16. Jumanji: Welcome to the Jungle has a pleasant, affable spirit, and Johnson is wholly charming.
  17. This is a test, requiring rapt concentration and acute attention, and repaying a hundredfold. For spectators dulled by the midget movies of an arrtstically timid era, the film may be a chore. For those on Malick’s rarified wavelength, it’s a wonder.
  18. The film is full of attractive young performers. And there is a low-keyed conflict between them and a faculty that is trying to discipline their exuberance without stifling their spirits. If the film had concentrated on that instead of on hokey melodrama, it might have been far more engaging and truer to life.
  19. It’s Roberts’ deepest, strongest, liveliest film work.
  20. From its first shot, of a mangled car high up in the branches of a tree, this cool, handsome thriller proceeds with an elliptical elegance.
  21. Vapid, claustrophobic drama.
  22. Brewer must have convinced himself that a schlocky old movie would speak eloquently to today's teens. About half of the time, he pulls it off.
  23. Greengrass, a meticulous, thoughtful filmmaker (he also directed the second and third films in the series, The Bourne Supremacy and The Bourne Ultimatum), clearly believes in what he’s doing. But his earnestness is at odds with the movie’s desperate, frenetic desire to keep us engaged every minute.
  24. Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]
    • Time
  25. Orchestrating the efforts of a superb production team — and of the reluctant Mr. Chayefsky — Russell has devised a film experience that will astound some viewers, outrage others and bore nobody. Laugh with it, scream at it, think about it.
  26. Faithful both to the novel's plot and to its higher aspirations. This is not an entirely good thing. On the other hand -- and somewhat surprisingly -- it is not an entirely bad thing.
  27. Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
  28. The movie is less to be experienced than to be appreciatively studied, like an insect, a stuffed bird, or the sketch by a gifted artist in the style of an Old Master — in this case, the Master of Suspense. It’s not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark.
  29. If the modest and moving Trouble With the Curve won't overwhelm anybody, it's still an engaging winner, like a junk-ball pitcher who stays in the bigs on grit and heart.

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