Time's Scores

For 2,012 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Boyz n the Hood
Lowest review score: 0 Untraceable
Score distribution:
2012 movie reviews
  1. Ginger & Rosa never matches the freshness of its young star.
  2. It is the movie's uneven writing-half funny and daring, half punishing and senseless-that proves to be Lola's biggest opponent.
  3. Never to be mistaken for a Christmas classic - or even, strictly speaking, a good movie - H&K 3D Xmas obeys one other solid comedy rule: that after things are broken, they must be repaired and restored.
  4. Still, somewhat shame-faced I have to admit that at some point in the film I began to hear a subversive voice whispering in my ear, and what it was saying was, "Could you blink a little faster, pal?"
  5. At the core, though, one finds a slacky, sappy film. The human mystery that breathed so easily in "Shawshank" is often forced here.
    • Time
  6. This agitated comedy could be called "The Big Chillin'" if it had a smidge of the 1983 film's wit and charm.
  7. Until a vigorous climax, the action scenes have little punch.
  8. The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
  9. The Terminal is Spielberg's shortest feature since the first "Jurassic Park," yet it drags, plods, piling one lifeless situation atop another. For all the effort and good intentions, the movie is in-terminal-ble.
    • 70 Metascore
    • 50 Critic Score
    Unfortunately, there is nothing royal about Camelot's carious screen version. It has been brought crunchingly down to earth by the churlish touch of Director Joshua Logan.
  10. In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
  11. Emmerich has turned his attention to the past. He and screenwriter John Orloff have embraced a kitchen sink's worth of 20th-century conspiracy theories about the provenance of Shakespeare's plays, each wilder than the last. Oliver Stone's "JFK" looks reasonable compared to this.
  12. Even in the skillful hands of director Lone Scherfig, the effect is disjointed. The characters that Nicholls brought so cunningly to life in the book feel rushed through a timeline, tied to an agenda.
  13. One has to admit that enormous moviemaking skill goes into the creation of pictures like The Incredible Hulk. The sheer craft directors such as Leterrier lavish on them is awesome to me. I can't imagine how they orchestrate -- or even remember -- all the little pieces of film they require to build their big set pieces. That thought, however, is nearly always followed by this question: Why do they bother?
  14. In Susan Minot's goofy script, Tyler ministers to ailing writer Jeremy Irons and other artsy layabouts while searching for the man on whom to bestow her virginity. The climactic deflowering scene provides the only giggles in an otherwise stodgy mess.
  15. The problem is that this pot of intrigue takes ages to boil, and the cook refuses to turn up the heat. And if vitality is not an element Sayles cherishes, neither is nuance.
  16. It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
    • Time
  17. I did laugh. The movie is so disgusting it is worthy of the Farrelly brothers.
  18. The scorekeepers at the various sites that rate critics' enthusiasm for a film shouldn't even try to elicit a Pass or Fail grade from me on T3. I'm a fascinated, stupefied outsider. Just mark me Present.
  19. Even if Blade Runner 2049 never forgets where it came from, it somehow keeps losing its way. The picture’s moodiness is excessively manicured; this thing is gritty only in a premeditated way. Mostly, it feels like a capacious handbag, designed with perhaps too many extra compartments to hold every cool visual idea Villeneuve can dream up.
  20. The best you can say for this version of Charlie's Angels is that it retains a sort of chipper, eerie good nature as it wastes the studio's money and our time.
    • Time
  21. There's something about her (Nair) Vanity Fair that doesn't quite work. There is no depth beneath its bright surfaces, no potent emotional undercurrents.
  22. The critic in me can authoritatively declare that the film is crap. The fan in me sent his shirt to the dry cleaners for tear removal.
  23. To evaluate For Your Eyes Only and the other Bond movies, it helps to think of them not as, say, different vintages of a fine Bordeaux but as successive models off the Pontiac assembly line. In one vehicle there may be an annoying ping in the engine of narrative; in another the dialogue may be as sleek as Genuine Corinthian Leather. But all meet the same standards of speed, styling and emotion control. If there is no Rolls-Royce in the Bond series, there is also no Pinto.
  24. The story is achingly familiar, and though Stallone has a certain power, he is certainly not the subtlest actor to crawl out from under Marlon's overcoat. But the picture goes most wrong in the conceit it employs to lift Rocky out of the clubs and into the big arena for his title challenge.
  25. Von Trier has a tendency to go overboard in his denunciations of American violence (Dogville). By contrast, Dear Wendy is a cogent, comprehensive take on the land and the films that obsess him.
  26. Hearts sinking, we are obliged to endure much pseudo-serious gabble as we head toward another painfully predictable triumph of the human spirit. There must be some better way of hunting our--and Oscar's--goodwill. [Dec. 1,1997]
    • Time
  27. As a person who removes a woman's clothing in the half light of a Southern afternoon, Efron acquits himself reasonably well.
  28. The picture is no great shakes as cinema, and a shade too cute for its own good.
  29. It has a gentle if unenlightening message, namely that we should all take time off to reconnect - the soundtrack tends to the Bonnie Raitt but the movie seems to subliminally hum "slow down, you move too fast" - and Keaton and Kline have decent chemistry.

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