Time's Scores

  • Movies
  • TV
For 1,713 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Lord of the Rings: The Fellowship of the Ring
Lowest review score: 0 Jack and Jill
Score distribution:
1,713 movie reviews
  1. A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.
  2. One of the strongest movies in recent years.
  3. A document that is raw, eloquent, horrifying and essential.
  4. The subtle colors and textures of the food alone make Ratatouille a three-star Michelin evening.
  5. Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.
  6. The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
  7. The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.
  8. However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.
  9. Bravely and with penetrating intelligence, Before Midnight elevates instead the practical, a partnership: frayed by disappointment, worn by time, but for the very luckiest—which we sincerely and selfishly hope includes Jesse and Celine—durable for the long day’s journey into night.
  10. The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]
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  11. Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
  12. It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
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  13. A near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.
  14. It works; this is Pixar's most enthralling entertainment since "Nemo."
  15. Sideways is by far the year's best American movie.
  16. The second half of the film elevates all the story elements to Beethovenian crescendo. Here is an epic with literature's depth and opera's splendor -- and one that could be achieved only in movies. What could be more terrific?
  17. In the history of movies about love, Amour shall last forever.
  18. A marvelously sad and funny docucomedy. [22 Oct 1990]
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  19. Crouching Tiger is contemplative, and it kicks ass. Or put it this way: it's a powerful film and a terrific movie.
    • Time
    • 93 Metascore
    • 100 Critic Score
    Epic cinema, tragic drama, it is also an act of remembrance and conscience that ultimately transcends the ordinary critical categories.
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  20. "How perfectly goddamned delightful it all is, to be sure." Irony aside, that's how to respond to this magnificent study in ink and blood.
  21. It is hard to think of another film more tightly autobiographical than this one. It's even harder to think of other films that build so gripping a narrative out of a string of comparatively minor and disparate incidents.
  22. One of the most wholly original American movies ever made.
  23. Though faithful in every detail to Tolkien, it has a vigorous life of its own -- grandeur, moral heft and emotional depth.
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  24. An instant classic.
  25. It is a ripping yarn and a spectacularly new and odd vision.
  26. Triplettes is terrific…there's no competition for the fall's most imaginative delight. In that race, Triplettes can already take its victory lap.
  27. Rich in humor, pained or frolicking.
  28. Caught in the movie's grip, you are simply hypnotized by the damned thing.
  29. In a style of agitated naturalism, Jordan examines poignant matters of life and death, sex and friendship, duty and loyalty, freedom and bondage, manhood and womanhood and all the ambiguous areas in between. [30 Nov 1992]
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  30. A war film that, entirely aware of its genre's conventions, transcends them as it transcends the simplistic moralities that inform its predecessors, to take the high, morally haunting ground.
  31. Redux is both a reminder of American cinema's last glory days and a rebuke to the timid present. Maybe Apocalypse Now wasn't the best movie of 1979, but Redux is surely the film to beat for 2001.
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  32. Her
    Jonze creates the splendid anachronism of a movie romance that is laugh-and-cry and warm all over, totally sweet and utterly serious.
  33. A solemn, subtly structured, beautifully acted and ultimately hypnotic movie.
  34. Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.
  35. Weird, beguiling premise.
  36. The Incredibles has those characters, that heart.
  37. So Almost Famous is almost fabulous. Oh, all right. The movie's so clever and endearing, you can forget the almost.
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  38. Hannah and Her Sisters is old-fashioned in another sense: its plot has the elegant geometry of a Philip Barry play. [Feb 3, 1986]
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  39. The controversial film that is unbearable--and unmissable.
  40. Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
  41. Reveling in its ’70s milieu and in the eternal abrasion of sexy women and covetous men, American Hustle is an urban eruption of flat-out fun — the sharpest, most exhilarating comedy in years. Anyone who says otherwise must be conning you.
  42. Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.
  43. Smartly crafted, impeccably acted, The Lives of Others packs a subtle punch, from its creepy first images to its poignant finale.
  44. The cast list is like a convocation of the Three Chinas: Taiwan's Kaneshiro, Hong Kong's Lau and the mainland's Zhang Ziyi. All are terrific, but the lady shines brightest.
  45. Prepare to be riveted: No End in Sight, Charles Ferguson's first film, is without question the most important movie you are likely to see this year.
  46. It could as well be called Best Thing of Undetermined Species.
  47. Beyond its craftiness and impeccable craft, the film sparks a warm connection with the viewer. Like a smiling cavalier swinging into view to rescue an imperiled maiden, The Artist brings salvation to melancholy movie lovers. For here is that rare film indeed that offers pleasure beyond words.
  48. Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]
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  49. So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history. [Sept 24, 1990]
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  50. Kaufman may be counting on the audience's will, insistence and yearning to create a coherent love story from the shards and shrapnel he provides us.
    • 89 Metascore
    • 90 Critic Score
    Terse is the word for Eastwood's directorial style. It rarely editorializes; it doesn't emote or orate. It just tells the damn story of a soldier's honor, which means doing the job no matter the odds--indeed, no matter the mission.
  51. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
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  52. There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]
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  53. Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
  54. This is a true-life heist movie, and the thieves not only got away with their billions, they're still doing business. Pay attention and blow a gasket.
  55. Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.
  56. Up
    Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work.
  57. Pixar's improved computer animation is up to all the demands of this excellent adventure.
  58. Director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic.
  59. The true, rare glamour of the piece is its revival of two precious movie tropes: the flourishing of words for their majesty and fun, and--in the love play between Fiennes and his enchantress--the kindling of a playfully adult eroticism.
    • 87 Metascore
    • 100 Critic Score
    Probably the bleakest, least sentimental study of the Mafia in Italian or American film history.
  60. The whole rollicking adventure zips along a mile a minute.
  61. In this film, however, he battles the elements and mortality with a thinking man’s resilience the equal of any astronaut, freighter captain or free man enslaved. That he fights fate on his own makes All Is Lost a signal film achievement and the capstone to a great star’s career. This is Ultimate Redford.
  62. What we come to care most about in writer-director Joshua Marston's film is how his heroine achieves the state promised by his title, Maria Full of Grace. Our emotional investment in her derives primarily from the astonishing performance of Moreno, 23.
  63. This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
  64. This year's miracle is called Tootsie. It is not just the best comedy of the year; it is popular art on the way to becoming cultural artifact.
  65. It is indeed impressive; and we mean not just this solid, satisfying final film - in which the Potter saga reaches its climax, if not quite its emotional apex - but the entirety of producer David Heyman's blockbuster franchise.
  66. The most mature and satisfying work in a glittering, consistently surprising career.
    • Time
  67. To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
  68. His performance is a canny portrait of leadership - part genius, part crazy guts, part dumb luck - and worthy of moving Pitt up to the playoff round of Oscar finalists for Best Actor. We'd put money on it.
    • 87 Metascore
    • 100 Critic Score
    For this movie stands to be something its predecessor was not, a megahit. And it deserves to be, for it is a remarkable accomplishment: a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore.
  69. You'll have to seek it out in its limited release, but no current movie is more worth the effort.
  70. A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"
  71. The rhythm of rural life has rarely seemed so lucid and luminous.
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  72. What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
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  73. Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.
    • 86 Metascore
    • 90 Critic Score
    The film has refurbished the classic romantic gospel of the outcast wanderer.
  74. Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]
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  75. Matthews brings to The Interrupters what every terrific documentary needs: an out-of-nowhere personality with the same magnetic watchability as any Hollywood star.
  76. The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."
  77. Mark down the date: June 27. That's when American moviegoers will see this perfect storm of a film, and the tiny force of nature that is Quvenzhané Wallis.
  78. The movie is one continuous, exhausting, exhilarating chase.
  79. Maybe these lives are, objectively speaking, inconsequential. But they have a resonance that big, sappy "relationship" pictures ought to envy.
  80. I wouldn't call the film inspirational -- it is too well observed to succumb to easy sentiment -- but its realism is patiently engaging and subtly insinuating. And Linney and Hoffman are extraordinary.
  81. This enthralling, enigmatic, romantic drama from Asia's most influential auteur (Chungking Express) is an essay in appetite and inhibition.
  82. It's hard enough to find comedies like this at any time, so it's a small and welcome miracle to come upon one in the midst of a typical movie summer.
  83. An austere and delicate examination of the ways in which a likable family falters under pressure and struggles, with ambiguous results, to renew itself. This is not very show-bizzy stuff, but for once, a movie star has used his power to create not light entertainment or a trendy political statement, but a work that addresses itself quietly and intelligently to issues everyone who attempts to raise children must face.
  84. Sublime and sorrowful movie.
  85. If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
  86. What makes this movie work is the kind of cool that made Get Shorty go so nicely: an understanding that life's little adventures rarely come in neat three-act packages, the way most movies now do, and the unruffled presentation of outrageously twisted dialogue, characters and situations as if they were the most natural things in the world.
  87. It's a deceptively small piece of onscreen art that resonates afterward with such insistence that I felt positively nagged by it.
  88. It's an exhilarating trip of movie madness and sadness.
  89. Droll, reticent, flawlessly filmed fable of generosity.
  90. Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.
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  91. In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
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  92. Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.
  93. All the actors in No Man's Land are wonderfully alive, fractious and unpredictable. Their performances also help break down the schematics and turn this into an emotionally potent, powerfully thoughtful and finally tragic experience.
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  94. Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.
  95. Plenty of tech-noir savvy to keep infidels and action fans satisfied.[26 Nov 1984, p. 105]
    • Time

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