Time's Scores

For 1,871 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 Hair
Lowest review score: 0 The Women
Score distribution:
1871 movie reviews
  1. This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
  2. 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.
  3. The film has a hectic, sitcom air and a full-of-himself hero who is as likely to grate as to ingratiate.
  4. 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.
  5. It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
  6. 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.
  7. 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
  8. A serious, handsome, excruciating film that radiates total commitment.
  9. Did anyone have a good time making this movie? The actors seem to be reading their lines at gunpoint, in an enterprise whose mood is less summer camp than internment camp.
  10. The trilogy ascends and soars with the two combatants and ends not with a whimper but with a blast of light. Thus the fabulous original film has found an honorable way to sign off. For those who didn't bother to join the early crowds, The Matrix Revolutions is a definite might see.
  11. The picture is sometimes wayward and unwieldy, its dialogue creaky and awkward, like an amateur’s attempt at scrimshaw.... But in a movie climate rife with superhero reboots and rehashings of childhood favorites, it’s a small marvel that In the Heart of the Sea exists at all.
  12. Bad Teacher revels in being distasteful. But it can't just let a bad woman be bad; she also has to be burdened with physical insecurity, even if it makes no sense. Can you imagine if Billy Bob Thornton's character had become Bad Santa so he could steal to fund his penis implant?
  13. We're talking fables, not reality, here, and this is a fine and merry one--"Ms. Woods Goes to Washington"--played to airy perfection by Reese Witherspoon and a light-on-its-feet cast.
  14. The results, while occasionally forced, are consistently amusing.
  15. Maybe even more surprisingly, about 70% of the crazily imaginative plot hangs together. But the other 30%, sloppily thought out and superfluous, drags the movie down.
  16. Swing Vote falls from agreeable fable into wan satire.
  17. The actors, especially the ever appealing Smith, do what they can to ground the movie in reality, but it stubbornly remains dawdling, remote and pretentious.
  18. An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
  19. Diverting without being fully absorbing, this is a film best appreciated as an exercise in--shall we say it?--Primal Gere. [15 Apr 1996, p.100]
    • Time
  20. It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
  21. Tin tailspins into silliness and never regains its flight pattern.
  22. An uninvolving muddle.
  23. Wyatt Earp drones past its logical conclusion, which is, of course, the great shoot-out. Since Earp's life uninstructively limped along after that event, so must the movie, further abusing our overtaxed patience and undertaxed intelligence.
  24. Hotel Transylvania isn't a complete stinker. Sandler, speaking in a pitch close to his Opera Man routine from his days on Saturday Night Live, is less obnoxious than usual. The visuals are consistently enticing - the castle/hotel is artfully rendered...And there are some bright and funny lines.
  25. Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
  26. For the uninitiated, The X Files: I Want to Believe may seem as musty and forbidding as one of those dank secrets that Mulder and Scully were forever digging up from some backyard, or fetid swamp, or their own aching hearts.
  27. Politics aside, this is a handsome film with orange skies to die for, or under, and a lovely score by Carter Burwell. The picture has some ponderous and snooze-worthy stretches, but it attains a certain melancholic grandeur, with the actors and crew fighting as desperately as Crockett and Bowie to make the best of a fated adventure.
  28. Whatever director Peter Hedges' intent, the movie itself, a sentimental blend of magical realism and saccharine emotions, is oddly false. It made me want to go on a sugar cleanse.

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