Time's Scores

For 2,102 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Hurt Locker
Lowest review score: 0 Showgirls
Score distribution:
2102 movie reviews
  1. Roy-Lecollinet’s face, both haughty and welcoming, both anchors the movie and sets it free in the wind. No wonder Paul can’t shake the memory of it. It’s the thing that will age him before his time—and also keep him young forever.
  2. What really registers is how frustrating Krisha’s erratic, furtive behavior would be if she were part of your family — and how deeply sympathetic she is because, thankfully, she is not. Fairchild’s performance is key to the movie: Krisha is witty and chatty one moment, and shut down like a deserted fairground the next.
  3. Nine out of ten gags in this crude pub crawl of a comedy are indefensible. Maybe ten out of ten. Tragically, perhaps, I laughed anyway: It’s so hard to know what to laugh at anymore, and what it’s OK to laugh at.
  4. 10 Cloverfield Lane...is not an outright Cloverfield sequel but rather, as Abrams has put it, a “spiritual successor.” It’s also a better movie, one with a sense of humor about itself and its genre.
  5. For loyal Malick fans, the woozy dream-logic visuals here may be enough. But this director is hardly the perceptive student of human nature he’s cracked up to be. He understands so little about women – and even less about our shoes.
  6. There are enough under-the-radar subtleties, rendered with a refreshing lack of smart-aleckiness, to make Zootopia feel current and fresh. It’s a modest, unassuming entertainment that’s motored by a sly sensibility.
  7. The Wave, with the exception of a few overwrought moments, is low on sadism and high on humbling. We’re all at the mercy of nature’s power. It’s the Whatever we can never outrun.
  8. Boldly entertaining.
  9. The majesty of nature is Embrace of the Serpent’s true star, and Guerra captures the glory of every leaf, every inch of sky, in pearlescent black-and-white as luminous as the lining of a clamshell. In Guerra’s eyes, as in Karamakate’s, the forest is magic itself—and it’s no less remarkable for having sprung from something as lowly as the earth’s soil.
  10. Although Eggers is discreet – the things you don’t see are more horrifying than those you do – the picture’s relentlessness sometimes feels like torment. But if you can survive it, The Witch is a triumph of tone.
  11. Deadpool, intended as a spiky antidote to superhero oversaturation, ends up impaling only itself.
  12. Mostly, Kung Fu Panda 3 is just fun.
  13. As Pine’s Webber navigates that seemingly helpless little boat, squinting into the driving snow and more than once nearly falling victim to the ocean’s mighty maw, he’s the movie’s finest special effect — not because he’s mindlessly brave, but because he lets us see how scared he is.
  14. The novelty of Pride and Prejudice and Zombies wears thin in the last third: How is it that the threat of a zombie apocalypse is always more thrilling than the event itself? But Riley and James help carry the picture to the finish line.
  15. Hail, Caesar! doesn’t completely hang together. But Johansson in a mermaid’s tail? Really, why else make movies—or go to them?
  16. Moretz gives the movie whatever warmth it has, though not even she can give it a real pulse.
  17. Mojave’s real reason for existing is the wiry, woolly dialogue that Monahan has spun out for his actors.
  18. Its glorious, snow-capped visuals aside, The Hateful Eight comes off as haggard and atrophied. It’s bloodless even in the midst of all its bloodiness; its characters are devoid of nobility, even the horrible kind. These are uglies not even a mother could love.
  19. Röhrig isn’t an experienced actor. In fact, he’s a poet and a former kindergarten teacher, living in the Bronx. But that could be what makes the performance so magnetic.
  20. Once you start reckoning with Anomalisa’s obsession with self-absorption, the novelty of this one-man pity party begins to wear off. A little puppet pain goes a long way.
  21. The Revenant is supposed to be relentless, though you may find it tiresome, the movie equivalent of tigers circling a tree so single-mindedly that they churn themselves into butter.
  22. The devastating truth of 45 Years, so beautifully wrought, is that even the most devoted couples are made up of two people who are essentially alone.
  23. When you’ve been charged with reviving one of the most obsessively beloved franchises in modern movies, is it better to defy expectations or to meet them? With Star Wars: The Force Awakens, J.J. Abrams splits the difference, and the movie suffers—in the end, it’s perfectly adequate, hitting every beat. But why settle for adequacy?
  24. 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.
  25. This is a jewel box of a movie for anyone who loves either Hitchcock or Truffaut–or better yet, both.
  26. McKay approaches this adaptation of Michael Lewis’ book with wit, energy and a surprising degree of clarity. But if the movie is a crackerjack entertainment, it’s one with a conscience.
  27. The picture is sometimes wayward and unwieldy, its dialogue creaky and awkward, like an amateur’s attempt at scrimshaw.... But in a movie climate rife with superhero reboots and rehashings of childhood favorites, it’s a small marvel that In the Heart of the Sea exists at all.
  28. Creed mingles go-for-broke romance with bloody pugilist thrills—but instead of feeling like a rehash, it works like gangbusters. Coogler honors and builds upon the Rocky formula so that it feels both comfortingly old-fashioned and bracingly new.
    • 65 Metascore
    • 70 Critic Score
    Mockingjay Part 2 is a worthy conclusion to a series that’s meant so much to so many, made stars of its younger players and allowed more-established performers to shamelessly ham it up.
    • 55 Metascore
    • 60 Critic Score
    The world may have seen the outcome, but it’s still convincing, a story of courage without platitudes, and it features one of Antonio Banderas’ best performances in years.

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