Time's Scores

  • Movies
  • TV
For 1,715 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 Atanarjuat: The Fast Runner
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,715 movie reviews
  1. The only thing Schumacher and his scrupulous craftsfolk forgot to give the movie was life -- the energizing spirit of wit and passion that makes scenes work and characters breathe.
  2. I Love You to Death lacks the precision, ferocity and guts needed for black farce.
  3. The proceedings get so slow and saccharine that viewers will relishes the film's moments of redeeming idiocy. In one of them, Marlena whispers to Jacob, "Bring Rosie to my tent and don't tell anyone" - as if the roustabouts wouldn't notice a 12-ft.-tall, 10,000-lb. creature striding down the midway.
    • 48 Metascore
    • 20 Critic Score
    Director Fran Rubel Kuzui's frenzied mistrust of her material is almost total. Somebody should have given her a garlic necklace -- or a Miltown -- and told her to chill out.
    • 50 Metascore
    • 20 Critic Score
    Adrian Lyne, late of Flashdance, directed this silliness, and three writers watched their script fall victim to the death of a thousand cuts.
  4. De Niro's performance begins to seem more a matter of well-practiced gestures than real conviction, and the long, silly finale more an exercise in empty panache by director Tony Scott than a truly gripping suspense piece involving people we care about. [26 August 1996, p.61]
    • Time
  5. In this climate, turning even a small corner of this century's central horror into feel-good popular entertainment is abhorrent.
  6. Wyatt Earp drones past its logical conclusion, which is, of course, the great shoot-out. Since Earp's life uninstructively limped along after that event, so must the movie, further abusing our overtaxed patience and undertaxed intelligence.
  7. Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
  8. Dorothy encounters a pumpkin with stick limbs, a tin soldier and something called a Gump, which looks suspiciously like your basic moosehead. They are all mechanical marvels, not actors, which means they can do anything except win an audience's heart. Still, it would defy the gifts of an Olivier to find interesting, amusing life in a context as charmless and joyless (and songless) as the one Murch and his design team have concocted. [1 July 1985, p.63]
    • Time
  9. This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
  10. Valmont arrives stiffened by the elegant, inert formalism of Forman's direction, and chilled by Carriere's all too sober respect for his source and by their mutual determination to apply modern psychological understanding to the behavior of the principal figures.
  11. A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
  12. In its wan attempt to be raunchy, the picture fails where Judd Apatow has usually succeeded; written by three women, this is a girl's mistaken idea of an R-rated comedy.
  13. My pregnancy lasted 41 weeks and five days, involved morning, afternoon and night sickness and culminated in 25 hours of labor capped off by an emergency C-section. Yet all that seems like a walk in the park compared with the 100 minutes I spent watching Jennifer Lopez mug her way through The Back-Up Plan.
  14. The Hangover Part III gives off such a stench of creative decay that it hardly seems possible that even Phillips or his co-writers have any use for the movie themselves. If a movie can be self-loathing and self-destructive, it’s this one.
  15. Hopelessly overwrought and deeply dopey movie.
  16. After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
  17. At once smug and lazy, qualities fatal to comedy.
  18. Our natural sympathy for the Carmichaels is sabotaged by crude and careless moviemaking.
  19. The result is a flat, dumbly brutal movie, full of overplotted complexity and empty of all emotional resonance, except that provided by the presence of Jane Greer (the original film's dark lady, here doing a supporting role) and Richard Widmark.
  20. Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
  21. Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou.
    • Time
  22. Maybe it was fun to bathe in decadence back then. But this is no time to wallow in that mire.
  23. Less a bad movie than simply not a movie, R.I.P.D. gives every indication of having been a sloppy first-draft script.
  24. We're left with our stifled laughter and a very long movie.
  25. It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84]
    • Time
  26. A ticket to Pretty Woman buys you mechanical titillation and predictable twists... Old-fashioned, assembly-line moviemaking without the old panache. [2 Apr 1990, p.70]
    • Time
  27. Occasionally curious moviegoers will discover an especially rotten specimen of the genus Cinema stinkibus... a work of ur-awfulness, counterbrilliance and antigenius. Your Highness, the new medieval-fantasy farce starring and co-written by Danny McBride, is such a movie.
  28. Was Red Riding Hood masterminded by a cadre of particularly silly 11-year-olds undergoing withdrawal from Twilight? That's the only excuse for a movie this dopey.

Top Trailers