Time's Scores

For 2,075 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Rango
Lowest review score: 0 The Women
Score distribution:
2075 movie reviews
  1. So here's a tip for those attending this handsomely acted, epic-length little film. Ease into the sleaze, stare at the party animals, look but don't touch, and, oh, boogie all night. [October 6, 1997]
    • Time
  2. But the film is keyed to Posey's performance: perfectly brittle, faultlessly false. As the most toxic of this family of vipers, she creeps and stings, and no one dares look away.
  3. It could be a distillation of some unaired black soap opera, so predictable are the plot contrivances--adultery, pregnancy, illness, missing money--and so cartoonishly are the characters drawn.
  4. A movie of shadows and half lights, the best approximation of the old black-and-white noir look anyone has yet managed on color stock.
  5. What he (Scott) does superbly is establish a raw, compelling reality that transcends his movie's banal premises and predictable conclusion. That permits Moore to play, and us to feel, authentic pain, isola- tion and courage--shocking stuff to find in an action movie these days. [25 August 1997, p. 72]
    • Time
  6. To make an unembarrassing movie about embarrassment is definitely an eye-opening achievement.
  7. Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
  8. Good--sometimes witty—suspense. [28 Jul 1997, p. 69]
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  9. This British film has the regal, clubby aura of Masterpiece Theatre. [21 July 1997, p. 70]
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  10. This isn't just a thrill ride; it's a rocket into the thrilling past, when directors could scare you with how much emotion they packed into a movie.
  11. Sixty years after Snow White, Hercules proves that Walt's art form is still sassy and snazzy.
  12. When our sympathies shift to [Cameron Diaz's Kimmy], the movie sours. It is no help either that Ronald Bass neglected to write (or Mulroney was unable to find) a character in Michael. Why all this fuss over this lox, we keep wondering.
  13. The screenwriters, Randall McCormick and Jeff Nathanson, and the director, Jan de Bont, have no interest in providing their actors with stuff to act.
  14. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  15. Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.
  16. A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
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  17. In its soft-spoken way, it is fierce, shaggy and deeply weirded out.
  18. The film has such a weakness for the easy incongruity (short men dancing with tall women--isn't that hilarious?) that it could almost be Australian. But Shall We Dance? also has an emotional gravity; it is grounded in a middle-aged man's nagging belief that he has one last chance to grab at life. [16 June 1997, p.76]
    • Time
  19. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  20. A true movie rarity: a brutally honest romance. If you loved "Sleepless in Seattle," you'll just hate it.
  21. The goofy hysteria of something like "A Summer Place" was infinitely more entertaining and emotionally authentic than the distant smugness of this failed clone. [7 April 1997, p. 76]
    • Time
  22. More important, we should take into account the fact that this is really quite a good movie--a character-driven (as opposed to whammy-driven) suspense drama--dark, fatalistic and, within its melodramatically stretched terms, emotionally plausible.
  23. An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
  24. In an era when films reduce the aged to comic cranks, Rifkin is heroic--the Lear of grumpy old men.
  25. Ordinarily such trespasses against truth would be enough to condemn such a movie, but Rhames' gravity and grace, Voight's pinched anguish as he wills himself to do right, the moving work of actors like Don Cheadle and Esther Rolle do much to redeem this film for human if not historical reality.
  26. The warming, nicely played relationship of the burglar and his lawyer daughter (Laura Linney) is the source of the film's absolute power. [24 Feb 1997, p. 67]
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  27. Writer Leslie Bohem and director Roger Donaldson brush briskly through the standard scientific and romantic blather. They know that in movies like this, complexity is the province of the special-effects people.
  28. This good-natured movie is very much in the spirit of those ancient comedies from Ealing Film Studios in which nice, silly people defend some enclave of old-fashioned sanity against the forces of brute modernism. [27 January 1997, p. 68]
    • Time
  29. 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.
  30. But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.

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