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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Kill Bill: Vol. 1
Lowest review score: 0 Untraceable
Score distribution:
1,656 movie reviews
  1. That metaphor is pitch-perfect, but the film works a little too hard at proving the vileness of beauty pageants.
  2. Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.
  3. For closeup conflict and emotional kick, the Frost/Nixon movie tops the play. But neither can match the tension and weird poignancy of the original interviews -- reality TV of the highest, queasiest order.
  4. Beyond the Hills may be the best movie no one will want to see in 2013.
  5. It's a gentle film about somewhat alien beings, who entertain us by creating instead of destroying.
  6. The film is seductive, disturbing, enthralling -- a trip to hell that gives the passengers a great ride.
  7. Pariah should be a special, important film for gay teens and their parents.
  8. It is a powerful portrait of a slightly befuddled man who, when inhuman demands were placed on him, found within himself an unexpected response.
  9. Remarkably, thanks to this documentary, we hope for the sake of this smart, vibrant, apparently good-hearted woman, that the invitations keep coming.
  10. It is, finally, as a richly pulsating, hugely entertaining human comedy -- antic, wayward, glancing -- that Short Cuts bemuses, amuses and finally entrances us. [4 Oct 1993]
  11. A gross-your-eyes-out horror movie that is also the year's most poignant romance.
  12. The movie wants to entertain and educate, not leer, about people flummoxed by participating in a revolution they had meant only to calibrate, and at that it succeeds handsomely.
  13. The best movie of this very young millennium.
  14. But it is the style with which this wild farce is developed that sustains our horrified interest and keeps us laughing as the darkness gathers around Barbara and Oliver. [11 Dec 1989]
  15. The next time you hear a director complain about the studio or his stars or the weather or whatever, think of what Jorgen Leth achieved with Lars von Trier as his boss -- when five obstructions became five splendid opportunities.
  16. Clint Eastwood has crafted a bold and meticulous epic.
  17. Jogs from one incident to the next, amassing information and dispensing attitude but rarely creating real characters. That's supposed to be director Milos Forman's forte; here, though, nearly everyone is an enemy or a stooge.
  18. To absorb God's body blows, this disquieting, haunting movie says, is to be fully alive. To do otherwise could kill you.
  19. Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)
  20. The screenplay, credited to three writers, has that over-doctored feeling to it, and we're asked to take on a larger redemption tale that undermines the truth of Bale's wholly unsympathetic portrayal of a drug addict and a narcissist. The Fighter's desire to show us what that awful combination looks like is overwhelmed by its urge to show us a Hollywood-style triumph.
  21. A wry and moving look at a time in life that tends to get short shrift in U.S. cinema.
  22. Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.
  23. No film since Preston Sturges was a pup has so shrewdly appreciated the way the eccentric plays hide-and-seek with the respectable in the ordinary American landscape; no comedy since Annie Hall or Manhattan has so intelligently observed not just the way people live now but what's going on in the back of their minds; and finally, and in full knowledge that one may be doing the marketing department's job for them, it is the best movie of the year.
  24. This moving tribute to a handful of candles flickering in the darkness has the power to summon us--one prays--to our better selves.
  25. But the actor (Nolte) finds truth in Wade's emotional clumsiness, in the despair of a man who hasn't the tools or the cool to survive. There are too many of these men in life, and not enough films that tell their sad tales.
  26. Williams, who has comparatively little screen time, has come to act, not to cut comic riffs, and he does so with forceful, ultimately compelling, simplicity. [June 5, 1989]
  27. Pi is a giant leap forward, outward and upward in expanding the resources of the evolving medium of movies. Magical realism was rarely so magical and never before so real.
  28. Let Me In is not as fantastic as "Let the Right One In," which you should rent immediately. But it is undeniably powerful and made with obvious admiration and respect for the source material.
  29. The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.
    • 79 Metascore
    • 30 Critic Score
    Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, then-scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.

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