Time's Scores

For 1,857 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 American Sniper
Lowest review score: 0 Untraceable
Score distribution:
1857 movie reviews
  1. Sucker Punch has vast empty patches, deserts of dead air.
  2. Crude gags mingle with squishy, underdeveloped messages about family and belonging and empowerment. And while self-abasement is part of the comedian’s toolbox, there’s something depressing about watching as a chortling Michelle airs her unmentionable area while spraying herself with self-tanner. McCarthy deserves better than this. She can aim higher.
  3. Jumper is so lame -- undernourished in its characterizations, stillborn in its action scenes -- that it inevitably leads the idled mind to wondering how this movie got past the pitch stage.
  4. So muted it disappears from your view even before it recedes from your memory.
    • 29 Metascore
    • 30 Critic Score
    Old-school Bill Murray, deadpan and gonzo, spices up the amiable mess that is Rock the Kasbah. That’s both a saving grace and a curse. Because while Murray and his laid-back riffs anchor this oil spill of a story, he needs a more tangible movie to latch onto, and all he gets is a mirage.
    • 84 Metascore
    • 30 Critic Score
    Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, their scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.
  5. So creaky and out of touch it inspires pity. Its opening sequences are a near marvel of confusion, mayhem and embarrassments for its actors. If it was a person, you'd worry it had dementia.
  6. This one is bad — a little comedy that flops in big ways.
  7. His is a dispassionate sensibility, and he is not a strong enough actor - nor has he a strong enough intelligence - to fight his way out of the false analogy he has drawn between moviemaking and tragic history in the making.
  8. The problem is that the high-pitched whine of Allie's character finally vitiates not merely the viewer's sympathy for him, but sympathy for the movie he dominates, despite the care and courage that went into its making.
  9. This is not necessarily an improvement, but it's not a total disaster either.
  10. Blow works for a scene or two, then stalls.
    • Time
  11. There’s only one reason to see The Huntsman: Winter’s War: Gowns! Insane, off-the-hook gowns.
  12. So Broken City stokes a lot of hopes. Too bad for all of us, the makers and the watchers alike, that it's a grimy botch.
  13. Sluggish, formulaic.
  14. If you consider what the exalted quartet of Branagh, Pinter, Caine and Law might have done with the project, and what they did to it, Sleuth has to be the worst prestige movie of the year.
  15. Either the Coens failed, or I didn't figure out what they're attempting. I must be like Harry or Osborne, pretending to a sophistication I lack. Burn After Reading is a movie about stupidity that left me feeling stupid.
  16. A triumph of bravado over self-regard, Brody's performance won't earn him a Oscar to place next to the one he earned for "The Pianist" nine years ago, but it's the only thing that makes High School marginally worth catching.
  17. Rarely have so many gifted women labored so tastefully to bring forth such a wee, lockjawed mouse.
  18. There are, of course, low cunning, high explosives and much running around without a shirt, punctuated with other familiar gambits: torture scenes; the self-cauterization of, and instant recovery from, a wound large enough to stop an elephant; and a grimly preposterous two-man stand against a tank-led army. What few are likely to find amusing is Rambo III's story line. [30 May 1988, p.64]
    • Time
    • 80 Metascore
    • 30 Critic Score
    By the time Scenarist Allen and Director Fosse have wrung them out, what's left - with one exception - is mostly slack and sour.
  19. It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home.
  20. What it doesn't have is a central figure you can give a hoot about.
    • Time
  21. Edwards’ Godzilla dawdles toward its Doomsday climax; the movie could win a prize for Least Stuff Happening in the First Two-Thirds of an Action Film... It’s a concept lacking a magnetic story, a package without a product.
  22. This is soft-gore porn, obvious in its strategies, witless in the play of its ideas, absurdist only in its pretense to seriousness.
  23. In this film we learn that it takes 8,000 lbs. of pressure to crush a car but only one credited screenwriter (Scott Rosenberg) to pound out such a lame script.
    • Time
  24. The movie is like a car wreck in which no one is injured but the onlookers.
  25. Why did these talented folks decide to take on Carrie when they had nothing innovative to bring to it and, by refrying the same blood sausage, risked invidious comparison to the original? To put it another way: If the most modest expectations cannot be met, indeed must be crushed, then What Is Life?
  26. There's evocative atmosphere in the period detail and perky faux-'60s tunes. A pity these are wasted in a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
  27. This is moviemaking for people who don't much like movies unless they are -- you know -- "serious." It is visually inert. It appears to be taking up small-scaled, yet emotionally resonant issues, but does not actually define them sharply or bring them to firm conclusions.
  28. Agresti's just out to give us a sentimental good time. Which some people, heaven help us, will have -- while the rest of us choke on the cutesiness.
  29. All its desperate plot maneuvers (Ben and Sandra making like Tarzan on a train roof) can't give the film wit; all the slo-mo sleet, rain and confetti can't give it style. [March 22, 1999]
    • Time
  30. Another dreadful entry in the festering form of romantic comedy: the forced intimacy of two people who have nothing in common but hatred for each other.
  31. Alas, The Outsiders is not quite a good one. Because it falls in with the undulating rhythm of the life of its heroes, for whom a fatal fight and a quiet night have almost equal importance, the picture never manages to reach the peaks of satisfying Hollywood melodrama.
  32. Tedium overwhelms caring well before this endless film finally concludes.
    • Time
  33. The Coens have deliberately cut themselves off from their best subject. Try as they will to create a vision of corporate (and urban) hellishness through sheer stylishness, theirs is a truly abstract expressionism, at once heavy, lifeless and dry.
  34. The collision of violent spasms and art-film ennui leave the viewer’s brain bloody but unfilled.
  35. It's pretty awful.
  36. I didn't believe a word of the film and found myself feeling nothing but (I'm sure this wasn't Kaye's point) detachment.
  37. Maybe kids will like the movie; their lust for dinolore appears to be insatiable. But the rest of us will yearn for Robin Williams' giddy goofing in "Aladdin."
    • Time
    • 43 Metascore
    • 30 Critic Score
    Gatsby's sad and curious history has resulted in a dull, dreadful movie. The film is faithful to the letter of F. Scott Fitzgerald's novel but entirely misses its spirit.
  38. Pretty lame. Sharkboy has an especially frantic, amateur atmosphere, with a mostly maladroit cast.
  39. As rigged as a casino slot machine, preying on people's hopes but paying off only for the house.
    • Time
  40. Did anyone have a good time making this movie? The actors seem to be reading their lines at gunpoint, in an enterprise whose mood is less summer camp than internment camp.
  41. The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
  42. Like Saturday Night Fever and, for that matter, the Rocky films, Flashdance has made it big by taking experiences of black youths and playing them in whiteface. But unlike its grittily romantic predecessors, Flashdance is pure glitz.
  43. Mostly awful.
  44. Except for Angelina Jolie, exemplary as the fairy badmother who laid a narcotic curse on an infant princess, this pricey live-action drama is a dismaying botch.
  45. It's a brilliant idea, for about 10 minutes. Then the bare set is elbowed out of a viewer's mind by the threadbare plot and characterizations.
  46. The Counsellor is neither an outright disaster nor misunderstood masterpiece: it’s just a very bad idea for a film, proficiently executed.
  47. "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.
    • 58 Metascore
    • 30 Critic Score
    In his first big Hollywood film, French superstar Gerard Depardieu cheerfully goes slumming with sex, lies, and videotape's Andie MacDowell. Peter Weir's comedy offers a little charm, less story and virtually no movie.
  48. Crowe has made a meretricious weepie that rouges the facts and defeats the attempts of Matt Damon, with his considerable charm and skill, to breathe some emotional truth into it. There's a word for the strenuous, shameless plucking of an audience's emotions that this movie traffics in: cornography.
  49. Red Lights reaches for a "The Sixth Sense"-style twist and whiffs it completely.
  50. May leave viewers emotionally disconnected from this distinctly unchipper Mr. Chips.
  51. It’s just a movie, with a dramatic arc that’s supposed to make all that mean stuff drift away into the ether as friendship is born, but it’s that look that hangs around like a bad smell.
  52. The only collateral damage is in the audience, where, as you sit through the movie, you can feel your IQ drop minute by minute.
  53. We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
  54. The result is a grim and predictable adventure saga that is not nimble but leaden. Dystopia has rarely been so dysto-pointing.
  55. Harley Quinn’s entrance is the best moment in Suicide Squad. After that, you can leave. Robbie is a criminally appealing actress, likable in just about every way, but that intro aside, Suicide Squad doesn’t serve her well. It serves no one well, least of all its audience.
  56. Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
  57. Crude and inept.
    • Time
  58. The awfulness of What to Expect When You're Expecting, an ugly brew of guide book, reality television and romantic comedy, is of course, entirely to be expected.
  59. Many of D’Souza’s charges in his movie are either piffling (Obama returned a bust of Winston Churchill to the British Embassy), wrong (the U.S. is drilling for at least as much oil now as in the George W. Bush) or murky.
  60. You will simply want to shoot yourself by the third inning.
    • Time
  61. It's great to have the Moose back, but it would be greater still to see him in a humorous context fully worth of him.
    • Time
  62. Writer-director Shainberg seems to be aiming for a dark comedy, but mostly his movie is coy without being funny, ugly without being truly transgressive, stupid when it needs to be smart.
  63. Ruth Prawer Jhabvala's screenplay is less a response to its source than a careful college outline of it.
  64. It could be a distillation of some unaired black soap opera, so predictable are the plot contrivances--adultery, pregnancy, illness, missing money--and so cartoonishly are the characters drawn.
  65. Snitch wasn’t going to be good no matter what Johnson did; it is so poorly directed that even Academy Award winner Susan Sarandon, playing a shrewish federal prosecutor, comes off as a hack straight off a soap opera.
  66. The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
  67. The result is a mess. Kym, in Hathaway's unsympathetic performance, is an annoyingly sour observer of the proceedings, a time bomb everyone hopes will not explode before the marriage is completed.
  68. This is, or was, a true story, but invested as it is with relentlessly cliched emotions, it plays like cheap fiction.
  69. Casa de mi Padre is flawed in that it wouldn't be particularly enticing in any language.
  70. Roger Michell's movie is, pretty consistently, dreadful.
  71. A grim and draggy romance in which even the clothes and sets are dismal.
    • 62 Metascore
    • 30 Critic Score
    Director Adrian Lyne has encapsulated the cliches of three decades in a single dreadful and hysterical movie.
  72. Braveheart is too much, too late.
  73. Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
  74. A picture that registers between Abysmally Awful and Mildly Mediocre. Such a one would be When in Rome, which is possible to sit through without wanting to stick darts in your eyes or frag the screen. Call it medi-awful.
  75. Shrill and charmless. I didn't believe a word of it. I wanted to spank it and banish it to its room.
  76. The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
    • Time
  77. Take what pleasure you can from the two stars. They look great; it's just the state of romantic comedy that looks terminal.
  78. A buddy movie that limps along, pausing for breath and pulse checks like a geriatric dutifully fulfilling doctor's orders to get some exercise.
  79. Sanctum is a stinker, a horror movie without a visible monster.
  80. Jennifer Jason Leigh's draggy performance as Parker is all studied accent (something vaguely mid- Atlantic but never before heard on Earth) and equally studied self-pity and it cannot sustain our sympathy, or our interest in this inept film.
  81. Star Trek is, finally, nothing but a long day's journey into ennui.
  82. Vapid, claustrophobic drama.
  83. There are gaping holes in logic throughout this sloppy, cheap-looking mess from "Disturbia" director D.J. Caruso.
  84. For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
  85. The screenwriters, Randall McCormick and Jeff Nathanson, and the director, Jan de Bont, have no interest in providing their actors with stuff to act.
  86. 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.

  87. It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
  88. 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
  89. Enemy is an arid parable, in which actors are neutered, zombified; they signify themes rather than occupying personalities.
  90. An uninvolving muddle.
  91. 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.
  92. 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.
  93. 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.
  94. 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?"

Top Trailers