Time's Scores

For 1,857 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 Never Let Me Go
Lowest review score: 0 Jack and Jill
Score distribution:
1857 movie reviews
  1. When it shifts into action mode, the movie can be a spectacular rush.
  2. It's because of AnnaSophia Robb's performance...I don't think you'll see a more fascinating and nuanced performance at the movies this year.
  3. Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
    • Time
  4. The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
  5. It's all so predictable. And you begin to wonder, as you so often do at the movies these days, why did they bother? And more to the point, why should we bother? [15 June 1998, p.72]
    • Time
  6. The result is that John Carter plays like an alternate, inferior version of "Avatar"…Plus fleeting hints of John Ford's "The Searchers" - for this is also a Western.
  7. In space, Jack hopes, someone may hear you dream. But in a movie theater, no one will see you yawn.
  8. Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.
  9. The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
  10. 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.
  11. Where Freeman was warm but enigmatic, Perry is warm but empty.
  12. Julie Taymor's inventiveness has diminished to a kind of strained cuteness. Everything that makes an artist an artist -- the obsessions, the egotism -- is ignored in favor of upbeat movie conventions.
  13. 54
    All glitz, no glory. [7 September 1998]
    • Time
  14. The resulting adventure is once again lively and clever, although its creative underpinnings -- a sort of flea-market pastiche of antique fairy tales, vintage vaudeville and contemporary pop culture -- seem rather more shabby than chic.
  15. Most viewers are likely to be impressed more by the magnitude of the effort than the magnificence of the effect. Cloud Atlas is a Terry Gilliam movie without the kinks, a Wong Kar-wai film without the smoky dreamscape, a time-and-Space Oddity that remains frustratingly earthbound. Put it another way: this is no "Speed Racer."
  16. Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
  17. A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
    • Time
  18. This movie exists wholly in the realm of metaphor, whose messages stick out like placards: Find joy through pain. Reunite with estranged loved ones. Keep hope alive.
  19. The film manages to be both sensational and stodgy, like a guided tour that goes on until it drones.
  20. Bettany's Darwin always has a chill or a case of the sweats, tummy ache or trembling hands. He has our sympathy initially, but the movie bathes us in such general despair that the natural instinct soon becomes a desire to tell him to buck up. We do believe in survival of the fittest, after all.
  21. Starsky & Hutch has moments of hilarity a little greater than you might expect of a movie that is just out for a lazy good time.
  22. You don't quite believe that a smart woman would spend so much time on such a dumb mission.
  23. It renders passion dispassionate and turns murder into a kind of fashion statement, something we observe without really caring about.
  24. Simultaneously diverting and annoying.
  25. The pitch is enough to make you swoon, but the movie itself is curiously limp.
  26. Nowhere Boy is a surprisingly conventional film - adroit at weaving a time-and-place mood but way too rigid dramatically to bring the Lennon family dynamic to life.
  27. To Western eyes, this meandering parable registers as a perplexity and a disappointment.
  28. Is comedy a young man's game, like skateboarding or sex? Writing jokes, creating droll characters -- these take ambition, ingenuity and energy, and after decades of devotion to this voracious muse, a fellow can get pooped.
    • Time
  29. Not bad, but certainly not good; classify the movie as lazy fun.
  30. Slick and senseless.

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