Time's Scores

For 1,757 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 Cinema Paradiso
Lowest review score: 0 The Last Airbender
Score distribution:
1757 movie reviews
  1. Star Trek is, finally, nothing but a long day's journey into ennui.
  2. Vapid, claustrophobic drama.
  3. There are gaping holes in logic throughout this sloppy, cheap-looking mess from "Disturbia" director D.J. Caruso.
  4. For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
  5. The screenwriters, Randall McCormick and Jeff Nathanson, and the director, Jan de Bont, have no interest in providing their actors with stuff to act.
  6. For Colored Girls feels like the cinematic equivalent to putting a garish reproduction of the Sistine Chapel on the ceiling of your McMansion and calling it art.

  7. It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
  8. The film is basically a drag, and not helped by Christopher Cain's stand- around direction. And one's thirst for the clear, cool taste of traditional narrative -- motivated movement, defined antagonists, building suspense -- soon reaches maddening levels. A grownup could die in this wasteland. [5 Sept 1988, p.63]
    • Time
  9. Enemy is an arid parable, in which actors are neutered, zombified; they signify themes rather than occupying personalities.
  10. An uninvolving muddle.
  11. But this is a sloppy job, both in little goofs...and in the cast's gung-ho amateurism. It's like Shakespeare done by the "Fame" kids.
  12. Some clever soul might have done something moderately effective with this idea, but Krampus is too dumb to be scary and too listless to be entertaining.
  13. That imperishable affability, that eagerness to please his Hollywood bosses, allows Chan to elude many of the indignities thrown his way in The Spy Next Door. It may also be the reason he says yes to a junky movie like this.
  14. There's neither intricacy nor surprise in the narrative, and these dopes are tedious, witless company. Mostly you find yourself thinking, "How long until dinner?"
  15. What's lacking is the sense of emotional balance and urgency that the original Terminator, though just a B movie, was blessed with--the quality that earned it fans in the first place.
  16. In the end, everything about this glum and self-important adaptation of Anne Tyler's upper-cute novel is dim. [26 Dec 1988, p.83]
    • Time
  17. Nothing coheres. Movies usually try to come together at the end; this one falls apart. If that's Bay intention, then cinema has finally entered its Age of Extinction.
  18. Yet how can one possibly recommend The Salton Sea? If it could, this nasty film would make you smell the disgusting food on the table. And that says nothing about its casual sadism.
    • Time
  19. A bad movie that a lot of people will like... Though director Jerry Zucker wants his necrophiliac romance to be sensitive, he pumps up its feelings fortissimo so the dimmest viewer will get the point. [16 July 1990, p.86]
    • Time
  20. Running, or stumbling, only 90 minutes, After Earth may lack the neck-swiveling awfulness of Shyamalan’s "The Last Airbender," but it quickly sinks in its logorrheic solemnity. The movie makes "Oblivion" seem as jolly a romp as "Spaceballs," and gives neither Shyamalan nor Smith much to smile about.
  21. If it weren't for him (Hemsworth), surely the Red Dawn remake would have gone straight to video; he's the only person worth watching in it (oh the pain of watching the wan Isabel Lucas hoist a rocket launcher).
  22. Butler has the showier part, but his impersonation of the tragic hero is undercut by his weird resemblance to Soupy Sales. You start hoping that Shelton will kill somebody with a custard (or puffer-fish) pie to the face.
  23. I'm afraid the DeNiro of "The Godfather, Part II" and "Goodfellas" has mostly faded from my mind, replaced by the DeNiro of the Fockers - a grim-faced comedian who tends to make me sad.
  24. Redford underacts, Gandolfini overacts, and this movie is directed with the same air of unreality, the same grim passion for cliches, both cinematic and emotional, that Lurie brought to his first film, "The Contender."
  25. By our count, three of the core SEALs are maimed or dead by the end. A new baby is left without her loving father. The picture ends not with a parade but with a funeral. And that may be the toughest, most lasting image in this cockamamie, Pentagon-approved war adventure.
  26. The tone is cloying, the running time bloated.
    • Time
  27. Under the Skin falls in love with its bleak monotony. It is a melodrama with all the thrills surgically excised.
  28. It's mostly an ordeal--for actress and audience.
  29. 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.
  30. There's a definite limit to the number of moron jokes we can absorb in 100 minutes, and their movie exceeds it.
    • Time

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