Time's Scores

  • Movies
  • TV
For 1,656 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 Jack and Jill
Score distribution:
1,656 movie reviews
  1. 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.
  2. This is a Bond with great body but no soul.
  3. 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.
  4. The performances of these actors are reason enough to go. The reason to stay is Lawrence.
  5. 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.
    • 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.
  6. 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.
  7. 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.
  8. 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.
  9. This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
  10. 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]
  11. [Darabont] makes you feel the maddening pace of prison time without letting his picture succumb to it.
  12. 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]
  13. Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.
  14. The central conflict, the struggle for Calogero's soul, is stated with a fable's starkness. But the tone of the film is musing, reflective, gently insinuating.
    • 80 Metascore
    • 30 Critic Score
    By the time Scenarist Allen and Director Fosse have wrung them out, what's left - with one exception - is mostly slack and sour.
  15. The tense verbal comedy of Mattie's early negotiation with a Fort Smith merchant should win you over to this movie's high linguistic wit. If not, you may as well slip out of the theater and into "Little Fockers."
  16. A movie that is both as real as food on the table and as hauntingly evanescent as its taste on one's tongue.
  17. Two cheers, at least, for permitting the past to appear not as a stern lesson but as a delicious irrelevance. [10 Mar 1986]
  18. This is a chase movie (Simon Legree after three Little Evas) across parched outback terrain, captured with rapturous authenticity by cinematographer Christopher Doyle.
  19. [Salles]'s imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting.
  20. Miss Bala is a tragedy rendered with the savviest, moviewise virtuosity. A young woman's despair, and a nation's, was never so damned entertaining.
  21. The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
  22. So, for those of you who were wondering if a great TV show could top itself at feature-film length, the good news is that The Simpsons did it! But "South Park" did it first.
  23. Maybe they’re all right. Or wrong. It can’t be settled. What matters is that people are still crazy about the beauty of a beautiful movie about going crazy.
  24. This is the animated film as art film. Coraline doesn't try to ingratiate; it just looms, like a cemetery gate, daring curious souls to tiptoe in and fend for themselves.
  25. This may seem too inside-cricket for a U.S. audience. And it's true that Cock and Bull is so postpostmodern, it's very nearly postmovie. But it's no less diverting for all that. It would be a shame if the great novel no one has read becomes the terrific film nobody bothers to see.
  26. There is more to the intertwined stories of Murrow and McCarthy than this simpleminded, rhetorically driven movie begins to encompass.
  27. The film takes this attempt to shatter narrative into little pieces about as far into incoherence as it can go; yet it is also full of odd, hypnotic menace.

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