Time's Scores

For 1,742 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 Curse of the Golden Flower
Lowest review score: 0 The Women
Score distribution:
1,742 movie reviews
  1. The scenes cut so close to the emotional bone that you can understand why they might cause a panic amongst MPAA boardmembers, although of course, it's nothing to be afraid of: just the realism of love in its varied forms.
  2. A British romantic comedy with not much inside its pretty head but the spinning out of an ancient Hollywood riddle.
  3. Master and Commander is to movies what Russell Crowe is to acting. With subtlety and power, it explores the complexities of men at war, even with themselves. It puts the passion into action, and the thrill into thought.
    • 81 Metascore
    • 100 Critic Score
    This covertly brawny film, with a script by Matt Charman and Joel and Ethan Coen, has plot points that click like pegs under Spielberg’s tight direction. In his fourth pairing with Hanks, Spielberg again examines the furtive face of justice and issues another masterful ruling.
  4. Tatum’s is the central performance: most daring because it’s least giving. He has often played young men of thick athleticism and slow wit. It’s proof of Tatum’s intelligence that he can make the audience feel smarter than the characters he plays – until they reveal a sly brilliance halfway through the movie.
  5. You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you. [29 Dec 1986, p.71]
    • Time
  6. The best, surely the smartest, English-language movie of the year to date.
  7. Director Ursula Meier's Sister is a penetrating study of familial bonds, quietly devastating in parts, beautiful on whole and destined to make you fall in love with a practiced and entirely amoral preteen thief.
  8. A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.
  9. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  10. Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
  11. While trading on viewers’ familiarity with the series’ venerable fetishes (a cheer rises at the sight of Bond’s old Aston Martin and the sound of Monty Norman’s guitar theme from Dr. No), Skyfall has the life, grandeur and gravity of a satisfying, stand-alone entertainment.
  12. Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
  13. Upon all these folks, writer-director David O. Russell turns a bland, almost anthropological eye. Nothing surprises him and nothing outrages him, except for bed-and-breakfast lodgings, about which, at last, his movie tells the terrible truth. [1 April 1996, p. 72]
    • Time
  14. Our response to the ape's doom, once touched by authentic tragedy, is now marked by relief that this wretchedly excessive movie is finally over.
  15. Never quite transcending the sum of its agreeably disparate parts, IV is less groovy than gnarled and goofy, but in a studied way. Call it an acquired taste with a kinky savor.
  16. District 9 proves that genre films, besides being a hell of a lot of fun, can say things you hadn't considered and show stuff you haven't seen.
  17. The performances of these actors are reason enough to go. The reason to stay is Lawrence.
  18. This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.
    • 80 Metascore
    • 90 Critic Score
    In an age of post-Christian facetiousness, Martin Scorsese's work daringly attempts to restore passion and melodrama to the Gospel story. Protests notwithstanding, the film is an affirmation of faith in the power of both the Gospel and the movies.
  19. It is a measure of its complexity--and of the forces Penn and Sarandon have held in reserve during their hypnotic struggle for his soul--that its final moments leave us awash in emotion.
    • 80 Metascore
    • 90 Critic Score
    Arrietty brings the same magic to the mundane, elevating the ordinary confines of everyday life into sumptuous surprises. And while Arrietty lacks the sweep of "Spirited Away," "Princess Mononoke," or "Nausicaä of the Valley of the Wind," it preserves all the trademark sensitivity to the emotional turmoil of adolescence.
  20. For stretches of the film, von Trieria is as welcome as Siberia. You must stay to the end for a potent payoff, when the tragic magic of the opening scenes is reasserted.
  21. The steady wink wink of Queen of Versailles is wearing. I'd say Greenfield is exploiting a narcissist's willingness to talk endlessly about herself, but I think it just as likely that Jackie is exploiting Greenfield's willingness to listen. And to keep that wonderful mechanical eye focused on her.
  22. This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
    • Time
  23. Think of A Fish Called Wanda as the next best thing to a Looney Tunes-Merrie Melodies summerfest…Wanda defies gravity, in both senses of the word, and redefines a great comic tradition. [July 18, 1988]
    • Time
  24. [Darabont] makes you feel the maddening pace of prison time without letting his picture succumb to it.
  25. This is a Bond with great body but no soul.
  26. Remain open to fantasies but not be consumed by them. These are good lessons for a would-be director. They are good lessons for everybody. And no recent movie has taught them with more patient sweetness. [Feb. 5, 1990]
    • Time
  27. Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.

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