Time's Scores

For 2,029 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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Life of Pi
Lowest review score: 0 Two of a Kind
Score distribution:
2029 movie reviews
  1. Realistically, it’s probably not possible to dance your cares away. But the determination of these girls makes you believe in it.
  2. It turns a hot topic into a pretty cool entertainment--one that satisfies the viewers' need for righteous revenge while leaving them a queasy little question on the way out: Does gun diplomacy make sense only in movies? Or do Americans want it to play out in real life?
    • 81 Metascore
    • 80 Critic Score
    This excruciatingly violent, three-hour Viet Nam saga demolishes the moral and ideological cliches of an era: it shoves the audience into hell and leaves it stranded without a map.
  3. The sweetest and funniest of Guest's true-life fake-umentaries.
  4. It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
  5. Adams gives a nicely polished, muted performance: She keeps the story grounded when the ideas Villeneuve is striving for threaten to get too lofty. And the picture is intelligently and effectively crafted, one of those enterprises where the cinematography, sound design and score, as well as the special effects, melt into a seamless, organic whole.
  6. Juno is not a great movie; it does not have aspirations in that direction. But it is, in its little way, a truthful, engaging and welcome entertainment.
  7. 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.
  8. A British romantic comedy with not much inside its pretty head but the spinning out of an ancient Hollywood riddle.
  9. 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.
  10. 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.
  11. Even if Blade Runner 2049 never forgets where it came from, it somehow keeps losing its way. The picture’s moodiness is excessively manicured; this thing is gritty only in a premeditated way. Mostly, it feels like a capacious handbag, designed with perhaps too many extra compartments to hold every cool visual idea Villeneuve can dream up.
  12. 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
  13. Where’s the line between a sensitive work of imagination and an invasion of real-life grief in the service of arty filmmaking? There’s a lot of clever technique in Jackie, like its canny, razor-precise editing. But there’s also something arch and distant about the picture.
  14. The best, surely the smartest, English-language movie of the year to date.
  15. 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.
  16. 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.
  17. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  18. McKay approaches this adaptation of Michael Lewis’ book with wit, energy and a surprising degree of clarity. But if the movie is a crackerjack entertainment, it’s one with a conscience.
  19. 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.
  20. 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.
  21. Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
  22. Whose Streets? is rough around the edges, like a torn photograph whose borders have also been raggedly burned. But that's more a strength than a liability.
  23. 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
  24. 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.
  25. 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.
  26. When you’ve been charged with reviving one of the most obsessively beloved franchises in modern movies, is it better to defy expectations or to meet them? With Star Wars: The Force Awakens, J.J. Abrams splits the difference, and the movie suffers—in the end, it’s perfectly adequate, hitting every beat. But why settle for adequacy?
  27. 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.
  28. The performances of these actors are reason enough to go. The reason to stay is Lawrence.

Top Trailers