Time's Scores

For 2,083 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 One More Time with Feeling
Lowest review score: 0 The Last Airbender
Score distribution:
2083 movie reviews
    • 97 Metascore
    • 50 Critic Score
    What is offered instead is merely gruesome. The trail leads to a sagging, swamp-view motel and to one of the messiest, most nau seating murders ever filmed. At close range, the camera watches every twitch, gurgle, convulsion and hemorrhage in the process by which a living human becomes a corpse...The nightmare that follows is expertly gothic, but the nausea never disappears.
  1. 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?"
  2. To accept the film, though, one must first understand its point of view, and that is maddeningly difficult. All we know for certain is that Do the Right Thing is not naturalistic. [July 3, 1989]
    • Time
  3. There’s no doubt Phantom Thread will be forever lauded as a great fashion movie, but I don’t think it’s even a good one. Its view of how fashion is made feels desiccated and airless, as if beautiful clothes can come into being only under a dome of oppression and anxiety.
    • 89 Metascore
    • 60 Critic Score
    This extended Streisand Special has done absolutely nothing to correct the flaws in the Broadway original.
  4. There is a lunatic energy about it. Every once in a while, Chayefsky abandons the struggle to dramatize his ideas and has somebody, usually Holden, just turn to the camera and spout off. In those moments, his concern — and sometimes his mother wit — comes blazing through and the picture takes on a life not found in safe, sane, well-calculated movies.
  5. Obvious, though, is the word for Hopper's direction. It amplifies to rock-concert level every pained plosive in Bertie's speech, forces certain characters dangerously close to caricature.
  6. 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.
    • 87 Metascore
    • 50 Critic Score
    Director Alfred Hitchcock goes nattering on with an hour of some silly plot-boiling about a flirtatious society girl (Tippi Hedren), a lovelorn schoolmarm (Suzanne Pleshette), an Oedipus wreck (Rod Taylor) and a pair of lovebirds. Hitchcock addicts will just be getting jittery for their first fix of gore when it suddenly becomes clear that the birds is coming: man's feathered friends set themselves to wipe out an entire village on the California coast. Why did the birds go to war? Hitchcock does not tell, and the movie flaps to a plotless end.
    • 86 Metascore
    • 40 Critic Score
    The movie lets down the material. It's to cool: all attitude, no sizzle.
    • 86 Metascore
    • 50 Critic Score
    Unhappily, the film shares a serious flaw in the essential conception of the show; both are founded on a phony literary analogy and on some potentially vicious pseudo-sociology... Nevertheless, by sheer theatrical intensity, the film transcends its specious materials.
  7. In terms of quality, though, Argo is just so-so.
  8. Finally, though, Traffic, for all its earnestness, does not work. It leaves one feeling restless and dissatisfied.
  9. All attitude and low aptitude.
  10. I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
  11. Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
  12. Hanks has a wonderful scene, late in the film, that shows a strong man collapsing into frailty. It hints at the emotional depth the movie might have plundered. The rest of Captain Phillips must rely for its drive on the relentless mechanical agitation of Henry Jackman’s score. It can’t save an overly muscled docudrama that is more pounding that truly gripping.
  13. A movie that may be just a bit too pleased with its own artful bleakness.
    • 82 Metascore
    • 50 Critic Score
    What’s most difficult about Sorkin’s intricate fantasy is not acknowledging Jobs’ darkness, but setting aside all hope of seeing the real man who inspired it.
    • 82 Metascore
    • 40 Critic Score
    The movie is vile and brutalizing. Indeed, in many ways it is worse than the book. If The Exorcist had been invested with any real intelligence or passion, if it had wanted to do something other than promote a few shivers, the explicitness would never have mattered. As used here, the explicitness amounts to not much more than a shill, a come-on.
  14. 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.
  15. Isle of Dogs...buckles under the weight of its own finicky whimsy. By the end, you might feel exhausted, like a border collie who’s worn a circular groove in the carpet. And you didn’t even make the movie–you only watched it.
  16. Where’s the line between a sensitive work of imagination and an invasion of real-life grief in the service of arty filmmaking? There’s a lot of clever technique in Jackie, like its canny, razor-precise editing. But there’s also something arch and distant about the picture.
  17. Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
  18. Our response to the ape's doom, once touched by authentic tragedy, is now marked by relief that this wretchedly excessive movie is finally over.
  19. 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?
  20. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  21. The steady wink wink of Queen of Versailles is wearing. I'd say Greenfield is exploiting a narcissist's willingness to talk endlessly about herself, but I think it just as likely that Jackie is exploiting Greenfield's willingness to listen. And to keep that wonderful mechanical eye focused on her.
  22. This is a Bond with great body but no soul.
    • 80 Metascore
    • 40 Critic Score
    The Sting was not made to be taken seriously, but many people may find it difficult even to enjoy casually. It lacks the elements that could have given it true drive. [31 Dec 1973, p.50]
    • Time
  23. There is more to the intertwined stories of Murrow and McCarthy than this simpleminded, rhetorically driven movie begins to encompass.
  24. In the end, it feels too much like a school assignment. Washington approaches the material with canonical reverence, but that isn’t the same as shaking it up and bringing it to life on-screen.
  25. Me, I'm of two minds about a movie that wants to be a nail-ripping thriller and a statement on an artist's unholy communion with her role. It's reminiscent of older, better movies.
  26. Blue Jasmine is the 77-year-old auteur’s first flat-out non-comedy in a quarter century — since "Another Woman" and "September" in the late ’80s, and back to "Interiors" in 1978. Like those more somber studies, this is a portrait of a woman in extremis. But a view from afar: Allen observes Jasmine’s allure and disease without penetrating her soul. That makes for a movie that is both intimate and disinterested, as if Jasmine were a flailing insect in a barren terrarium.
  27. What plot it has is borrowed, improbably, from Henry IV, and whenever anyone manages to speak an entire paragraph, it is usually a Shakespearean paraphrase. But this is a desperate imposition on an essentially inert film. [28 Oct 1991]
    • Time
  28. Indeed, viewers who arrive at the movie five minutes late and leave five minutes early will avoid the setup and payoff for the preposterous twist that spoils this lively, intelligent remake of 1948's The Big Clock.
  29. Invigorating and annoying, Lola could use a dose of Ritalin. Best to take this 76-minute riff on alternate destinies as an antidote to Europe's minimalist art-house cinema and to enjoy Potente's sweaty radiance.
  30. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  31. Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
    • 77 Metascore
    • 40 Critic Score
    The screenplay, which begins as genuine comedy, soon degenerates into spurious melodrama.
  32. A hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson ...would like it to be.
  33. The film comes uncomfortably close to risible. But it also achieves moments of real power. It's worth a wary look before it attains midnight cult-movie status.
  34. A well-intentioned picture, it’s also a flawed one. This is filmmaking that sets out to make its points but fails, in big ways and small ones, to forge an emotional connection with most of its characters.
  35. The picture is mostly tedious and unpleasant, which is a shame for the sake of the performers. Jackman works hard here, and his performance does away with vanity altogether.
  36. It’s a bit of a botch.
  37. Lynch and his film will surely be reviled, but as an experiment in expanding cinema's dramatic and technical vocabulary, Blue Velvet demands respect. [Sept. 22, 1986]
    • Time
  38. To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
  39. Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
    • Time
  40. Disney is trying to lure the disparate audiences of "Harry Potter and the Goblet of Fire" (kids) and "The Passion of the Christ" (Evangelicals). But on either level, Narnia fails. There's no fire, no passion and not much fun.
  41. If there is a hero in the new film, it is Donald Sutherland, who gives an energetic, intelligent, emotionally rangy performance as the public health officer working on the case. There is nothing wrong, either, with Brooke Adams as his colleague and lover. But, sadly, they can not compensate for all the other mistakes in a film that lingers too long and too soberly over material that, as the original showed, must be quickly, even superficially handled, if it is to be accepted at all.
  42. The result is a Big Mac of a movie, junk food that somehow reaches the chortling soul.
  43. Instead of exploring something bigger, like the origins of Bernie's need for the company of elderly ladies (which Hollandsworth touched on in Texas Monthly; Tiede lost his mother at age 3 and his father at 15), Linklater limits the story and mood to black comedy.
  44. Ultimately, Titanic will sail or sink not on its budget but on its merits as drama and spectacle. The regretful verdict here: Dead in the water.
  45. A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
  46. By buying the pitch that its central character’s escapades were the stuff of mesmerizing drama or comedy, Scorsese, Winter and DiCaprio reveal themselves as dupes — the latest in a long line of clever folks swindled by Jordan Belfort.
  47. After that kick-ass opening, the picture devolves into an action-action-plot-action-plot-action monotone.
  48. Mother! is ambitious and dorky, like a Hieronymus Bosch painting redone as swirl-art. It’s entertaining to watch, because it’s not easy to see where it’s going—though you might feel a little underwhelmed when you discover where it ends up. The main reason to keep watching is Lawrence, receptive and radiant.
  49. It appears to be a true reflection of her (Shelly) spirit -- eccentric, good-naturedly feminist, kind of funny and kind of sentimental. Despite its realistic setting in a small Southern town, it is much more a fable than it is a slice of authentic life.
  50. Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
  51. There's a great story here, but Tucci's literate, civilized, wistful movie lacks savage impulse and refuses to show how mutual exploitation led to minor tragedy.
  52. Doesn't offer much.
  53. The film is one-note; misery is the only game in town.
  54. The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  55. Maurice (pronounced Morris) is all high-mindedness and good taste. It has no emotional tension or - heaven forfend - strong expression of frustration or need.
  56. The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
  57. This is the rough cut of a good movie, and a splendid opportunity wasted.
  58. It is a tremendous downer when the second half of the movie shirks logic, defies its own established principles and raises more questions than it answers.
  59. Directed by the enormously talented New Zealand filmmaker Taika Waititi, it’s well intentioned but ultimately numbing, an instance of fun overkill whose ultimate goal seems to be to put us into a special-effects coma.
    • 74 Metascore
    • 40 Critic Score
    In this movie version, directed by Robert Wise, the specter is slightly censored—what's left is just the usual commercial spirit. Whenever it appears, the violins on the sound track start to didder, doors open and shut by themselves, people stare about in terror and squeak: The house, it's alive! The picture, it's dead.
  60. I think the central mistake of this film derives from its lack of irony, a sense it refuses to impart that the world may not be exactly as the zealous Christopher perceives it to be. The film needs at least to entertain the possibility that its protagonist was driven less by high principle than by lamentable screwiness. And we need to leave it carrying some sense of tragic consequence with us. Instead, we're simply glad to be finished, at last, with this annoying man-child.
  61. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  62. It doesn't work. It is just a mess -- though the sound track, full of Dylan songs is, of course, good to hear. But it is not better than the track on Martin Scorsese's "No Direction Home" documentary of two years ago.
  63. The film causes no tremors, only a hemi-Demme-semiquaver.
  64. The script, by Peter Hedges from his novel, spins out a few too many eccentricities, and the direction, by Lasse Hallstrom (My Life as a Dog), meanders. But DiCaprio and Cates bring loopy authenticity to their roles, and Depp is, as always, a most effacing star.
  65. Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
  66. To Western eyes, this meandering parable registers as a perplexity and a disappointment.
  67. The pulse of Curtis Hanson's direction is lethargic; the comic bits are so slack and deadpan you could mistake the film for an earnest drama--an Afterschool Special for troubled kids and their pooped parents.
  68. Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
  69. Even Galifianakis's pervy charm, and a deeply weird cameo by Mike Tyson, can't save The Hangover. Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon.
  70. Mission: Impossible – Ghost Protocol is no "Fast Five."
  71. I think Gonzo, which is wonderfully rich in historical footage, needs some skeptics, some voices suggesting that maybe, just maybe, Thompson was part of the problem, not the solution, when America flirted briefly with revolution (or was it merely anarchy?), leaving consequences that continue to resonate today -- and not always to our advantage.
  72. Funny in its deplorable way.
  73. The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
    • 73 Metascore
    • 60 Critic Score
    Director Richard Eyre and screenwriter Patrick Marber keep forcing us past disbelief and into the perverse pleasures of nastiness. If nothing else, their film is the perfect antidote to all those warm, forgiving schoolboy dramas we've endured through the years. This corn is not green; it is rotten down to the last kernel.
  74. Can one recommend this unblinking film to the average moviegoer, out for a good time? Only in this way: if James and his crew can spend years with these blighted souls, surely you can spend two hours with them, exploring compassion's outer limits.
  75. This is rather a thin tale, not much thickened by Burton's direction or Depp's playing. There's a distance, a detachment to this film. It lacks passion.
  76. This material is either underdeveloped or crudely put by a director whose style is so conventional that he makes James Ivory look, by comparison, like Jean-Luc Godard.
  77. Pakula seems overawed by the book's critical and popular success. Whatever its other virtues, Presumed Innocent was basically a page turner; the movie is a slow burner.
  78. For clever as it is conceptually, it violates the most basic rule of romantic- comedy construction. If boy doesn't meet girl, then the drama of boy losing girl and the final satisfaction of boy getting girl cannot happen.
  79. Hail, Caesar! doesn’t completely hang together. But Johansson in a mermaid’s tail? Really, why else make movies—or go to them?
  80. All these roles could have been found at a garage sale of comedy stereotypes. To the extent that 50/50 works, it is because of Gordon-Levitt, one of my favorite actors.
  81. A movie this implausible shouldn't be this dull.
  82. Neither jokes nor fast, flashy action can completely distract audiences from the failure to establish an authentic, rather than a purely conventional connection between Nolte and Murphy.
  83. This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
  84. Lowery stumbles, working too hard to squeeze a response from us.
  85. What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
  86. The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
    • Time
  87. Eight Men Out lacks either the spacious simplicity of legend or the patient detailing of realism. And Sayles often seems like a man who, trying to stretch a single, gets caught between bases and is desperately trying to evade the rundown.
  88. By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
  89. Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.

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