Time's Scores

For 2,020 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 No Country for Old Men
Lowest review score: 0 Cocktail
Score distribution:
2020 movie reviews
  1. The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
  2. Everything that happens in Happy Feet Two is good-to-great.
  3. The picture is no great shakes as cinema, and a shade too cute for its own good.
  4. The film is basically a drag, and not helped by Christopher Cain's stand- around direction. And one's thirst for the clear, cool taste of traditional narrative -- motivated movement, defined antagonists, building suspense -- soon reaches maddening levels. A grownup could die in this wasteland. [5 Sept 1988, p.63]
    • Time
  5. For Colored Girls feels like the cinematic equivalent to putting a garish reproduction of the Sistine Chapel on the ceiling of your McMansion and calling it art.

  6. Now that Eat, Pray, Love had lost its commas and become a movie actually starring Julia Roberts, I was no longer annoyed by how much it seemed like one; it had assumed its rightful place in the entertainment universe.
  7. Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
    • Time
  8. This is not necessarily an improvement, but it's not a total disaster either.
  9. Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?
  10. Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
  11. With their technical astonishments, Director Henson and Executive Producer Lucas have been faithful to the pioneering Disney spirit. In suggesting the thrilling dilemmas that await a wise child, they have flown worlds beyond Walt. [7 July 1986, p.65]
    • Time
  12. When our sympathies shift to [Cameron Diaz's Kimmy], the movie sours. It is no help either that Ronald Bass neglected to write (or Mulroney was unable to find) a character in Michael. Why all this fuss over this lox, we keep wondering.
  13. The Zero Theorem is a spectacle that demands to be cherished — as long as the society Gilliam portrays is a satire, not a prophesy.
  14. The Guilt Trip works because we all know and like a Joyce Brewster (or dozens of them).
    • 50 Metascore
    • 20 Critic Score
    Adrian Lyne, late of Flashdance, directed this silliness, and three writers watched their script fall victim to the death of a thousand cuts.
  15. Their film is not so much thought out as strung together -- colorful incident upon colorful incident, but without logic, gathering suspense or any attempt to establish emotional connections between audience and actors.
  16. Four minutes of Bush on SNL is just right, but 85-minutes of Cam Brady feels like a lot, even with a strong supporting cast that includes Jason Sudeikis as Cam's campaign manager and Katherine LaNasa as Cam's picture-perfect, but mean-as-nails wife.
  17. Does Solondz feel remorse for libeling his own kind? He might need to if his portraits didn't have the gift of dark wit, the ring of social truth. One makes allowances for a master storyteller.
    • Time
  18. I'd take any woman in my life, ages 10 to 100, to Letters to Juliet and my guess is we'd both leave with a little Italian glow.
  19. For all the menace of its techno-prattle, its implicit boosts for humanism and its swell production design, the picture is finally a bore. Sci-fi was more powerful when its special effects were cheap and crude, its ideas simple but potently stated.
  20. No masterpiece, Persia is fun for exactly as long as it takes to sit through it.
    • 50 Metascore
    • 40 Critic Score
    Top Gun is about the training of the Navy's best fighter pilots and their blooding in cold war incidents, and the only thing Director Tony Scott has not brought up to date is the story. It is the one about the hotdog who has to be taught to be a team player. They were peddling that one before Writers Jim Cash and Jack Epps Jr. were born.
  21. Gradually, though, the movie sinks into ordinariness, serving up too many Spielbergian reaction shots of each cast member gawking or gulping at an alien encounter, and too many moral lessons that must be learned or taught.
  22. The journey is never boring, and it's morally satisfying too. O.K., the movie is what Hollywood likes to call "a ride." But it's one worth taking.
    • Time
  23. Director Kelly Makin has a gift for casually tossed-off farce.
  24. It is a talkative film, rather earnest in its tonalities, not at all a deft, witty or well-paced. On the other hand, it is, for Allen, a comparatively rare excursion into lower-class life.
  25. Simone is a funny, smart, improbably successful satire on contemporary celebrity obsessions, the waning summer's most delirious comedy.
  26. A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
    • Time
  27. Not in any sense a great movie, a masterpiece that future generations will want to rediscover. But it is a solid, well-made, generally gripping and intelligent movie -- and how many of those have lately been made in America?
  28. Somehow it works, in part because of the way director Howard keeps his crowded frames abustle with activity, in part because of the sheer indomitability with which his leading characters are endowed by the actors and by writer Dolman, but mostly because the movie takes enlivening chances with its material.

Top Trailers