Time's Scores

  • Movies
  • TV
For 1,725 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Opposite of Sex
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
1,725 movie reviews
  1. The movie's central problem: a lack of alternative suspects...How the screenwriter, Todd Komarnicki, and the director, James Foley, resolve this problem is a genre travesty and an affront to their star.
  2. What aims at being terrifying is just loud and goofy.
  3. 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
  4. Never achieves more than feckless amiability.
  5. There is none of the affectionate respect for working-class life and values that marked the similar, and far superior, "Norma Rae," nor any of that film's sense of felt reality either.
  6. Half comedy, half action piece, the movie runs sputteringly on the not inconsiderable charm of its stars. But basically it is languid, indeterminate and uninvolving.
  7. This Ed Wood is dead wood.
    • Time
    • 28 Metascore
    • 20 Critic Score
    After an agonizing first half-hour designed to empty the theater, Lynch unleashes his patented perfervid style, puts the familiar dwarfs and feebs on display and elicits a nicely horrifying turn from Lee. [7 Sept 1992]
    • Time
  8. One is left wondering why Williams has granted early retirement to his inner anarchist, what dark need compels a great clown to become a sad, fuzzy one in movies only Bob Dole - faking it -could love.
  9. And now we have this ill wind, this feeble gust of an environmental horror story. The writer-director's disintegration from robust artistic health to narrative incoherence, from hitmaker to box-office loser, has an almost tragic trajectory. It's a saga worthy of being told by the young M. Night Shyamalan.
  10. 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.
  11. I Love You to Death lacks the precision, ferocity and guts needed for black farce.
  12. 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.
  13. 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
  14. In this climate, turning even a small corner of this century's central horror into feel-good popular entertainment is abhorrent.
  15. 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.
  16. Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
  17. 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
  18. This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
  19. 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.
  20. 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
  21. 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.
  22. 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.
  23. 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.
  24. Hopelessly overwrought and deeply dopey movie.
  25. After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
  26. At once smug and lazy, qualities fatal to comedy.
  27. Our natural sympathy for the Carmichaels is sabotaged by crude and careless moviemaking.

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