Time's Scores

  • Movies
  • TV
For 1,700 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 Tootsie
Lowest review score: 0 W.E.
Score distribution:
1,700 movie reviews
  1. 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.
  2. Maybe it was fun to bathe in decadence back then. But this is no time to wallow in that mire.
  3. 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]
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  4. 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
  5. We're left with our stifled laughter and a very long movie.
  6. 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.
  7. After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
  8. 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.
  9. 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.
  10. The shaky-cam as used in "Cloverfield" and the Paul Greengrass "Bourne" films, and in TV shows from "NYPD Blue" to "24" to "The Office," is worse than amateurism; it's fake amateurism, the visual equivalent of a comedian pretending to have Parkinson's.
  11. 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.
  12. 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.
  13. Less a bad movie than simply not a movie, R.I.P.D. gives every indication of having been a sloppy first-draft script.
  14. Courteney Cox is good as a sexy, hard-pressed single mom, but she alone can't redeem the prevailing stupidity.
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  15. If this retro crime comedy had been a Broadway play, it would have closed out of town.
  16. Too many special effects, many of them stomach churning; too much pornographically arranged death.
    • Time
  17. One of the worst messes in years.
  18. Few movies have spread their fibs or facts as clumsily as this one. There's not an emotionally plausible moment in the picture.
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  19. 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.
  20. Director Joe Johnston's elaborately dressed kids' movie--about a board game that sucks its players into a perilous jungle overrun by lions, rhinos, monkeys, crocodiles and spiders--spends so much time on the how of special effects that it neglects the why of characterization.
  21. What must be said is that the new movie is simply awful: poorly structured, vulgarly written, insipidly directed, monotonously performed.
  22. Conan is a sort of psychopathic Star Wars, stupid and stupefying.
  23. Beverly Hills Cop III is just going through the motions, without comic conviction, surprises or suspense. [6 June 1994, p.66]
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  24. Judged purely by what director Walter Hill has put on the screen, Another 48 Hrs. is a movie mainly about the several pretty ways that glass shatters when bullets or bodies are propelled through it. [25 June 1990, p.77]
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    • 58 Metascore
    • 10 Critic Score
    Every character, every scene, is marred by the film's double view, which oscillates between sympathy and farce.
  25. Coming to America seems to be more career move than movie. After the raucousness of Beverly Hills Cop II and the raunchiness of Eddie Murphy Raw, the star apparently wants to assert his claim on the currently vacant title of America's Sweetheart. His aspirations must be bigger and badder than that. We want -- may actually need -- something more from this gifted man than Eddie Murphy Tame. [4 July 1988 p.66]
    • Time
  26. The movie veers uneasily from not-funny comedy to not-persuasive melodrama. Murphy forgets that the dialogue in old-fashioned crime pictures was as highly stylized as the settings. In place of sharply polished wisecracks, he gives us the steady mutter of the witless, unfelt obscenities that are the argot of our modern mean streets. [27 Nov 1989, p.88]
    • Time
    • 47 Metascore
    • 10 Critic Score
    This movie could induce terminal boredom in adults and rot the minds of the young. [26 August 1985, p.64]
    • Time
    • 36 Metascore
    • 10 Critic Score
    The bad news for everyone else is that the colorfully named characters from Clue remain flat enough to be stored in a box, and that all three endings are unpersuasive. [23 Dec 1985, p.79]
    • Time
  27. Director John Huston offers production numbers full of empty extravagance, a host of familiar characters (like Punjab and the Asp) with little to do - and a chorus of baby Mormans knowingly strutting their stuff, breaking the sound and charm barriers.

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