Time's Scores

For 1,857 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 Thirst
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1857 movie reviews
  1. At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
  2. Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker.
  3. When it shifts into action mode, the movie can be a spectacular rush.
  4. Dolman's comedy isn't exactly a barrel of emotional surprises, but its great cast underachieves admirably. There are worse ways to pass 94 minutes.
  5. After “The Matrix Reloaded” and “The Hulk,” there's something refreshing about this movie's complete lack of intellectual pretense.
  6. Fresh inspiration is sparse here; the sequel is less an extension than a remake. Holmes says of one of his lamer disguises, "It's so overt, it's covert." And the shadow in this game is the imposing penumbra of Ritchie's very satisfying 2009 film. It's overt and overwhelming.
  7. The film also serves as the clearest statement of Glee's sacred mission. Through it, we can see how the entire multimedia phenomenon - the show, the albums, the iTunes hits, the recent concert tour and now this movie - has accrued the odor, say the incense, of a secular religion.
    • 48 Metascore
    • 40 Critic Score
    For a film that supposedly celebrates freethinking, there’s a woeful lack of it here.
  8. The Counsellor is neither an outright disaster nor misunderstood masterpiece: it’s just a very bad idea for a film, proficiently executed.
  9. In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
  10. Until a vigorous climax, the action scenes have little punch.
  11. Coming to America seems to be more career move than movie. After the raucousness of Beverly Hills Cop II and the raunchiness of Eddie Murphy Raw, the star apparently wants to assert his claim on the currently vacant title of America's Sweetheart. His aspirations must be bigger and badder than that. We want -- may actually need -- something more from this gifted man than Eddie Murphy Tame. [4 July 1988 p.66]
    • Time
  12. Hopelessly overwrought and deeply dopey movie.
  13. For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
  14. Star Trek is, finally, nothing but a long day's journey into ennui.
  15. The Girl on the Train is less a thriller than a morality tale reminding us never to make snap judgments. No matter how dreadfully some characters behave, we’re not allowed to dislike anyone for long. That kind of catharsis isn’t allowed.
  16. We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
  17. As transparent as this device is, Angels has elemental satisfactions in its blend of movie genre that could appeal to wide segments of the audience.
  18. Even in the skillful hands of director Lone Scherfig, the effect is disjointed. The characters that Nicholls brought so cunningly to life in the book feel rushed through a timeline, tied to an agenda.
  19. While Admission remains the story of a woman who comes to question her past choices and jeopardize her career, the movie version is lighter, fluffier and dramatically inert.
  20. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  21. This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
  22. There is an inherent problem about any sequel that too slavishly duplicates the style and substance of its predecessor; it cannot deliver the delight of discovery that the original provided. Axel made a swell first impression, but he is still living on it, perhaps not yet a bore, but not quite as fascinating as he once promised to be.
    • 48 Metascore
    • 20 Critic Score
    Director Fran Rubel Kuzui's frenzied mistrust of her material is almost total. Somebody should have given her a garlic necklace -- or a Miltown -- and told her to chill out.
  23. The film has a hectic, sitcom air and a full-of-himself hero who is as likely to grate as to ingratiate.
  24. This is a big, often quite scary action movie, with tons of creepy computer-generated imagery that's right up there with Voldemort in terms of physical nastiness, although less powerful emotionally.
  25. It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
  26. Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
  27. You're entitled to ask for more than that in a comedy, but these days you're often obliged to settle for a lot less.
    • 47 Metascore
    • 10 Critic Score
    This movie could induce terminal boredom in adults and rot the minds of the young. [26 August 1985, p.64]
    • Time

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