Time's Scores

For 1,757 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 Cinema Paradiso
Lowest review score: 0 Untraceable
Score distribution:
1757 movie reviews
  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. 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.
  4. 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.
    • 86 Metascore
    • 40 Critic Score
    The movie lets down the material. It's to cool: all attitude, no sizzle.
  5. In terms of quality, though, Argo is just so-so.
  6. Finally, though, Traffic, for all its earnestness, does not work. It leaves one feeling restless and dissatisfied.
  7. All attitude and low aptitude.
  8. I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
  9. Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
  10. 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.
  11. 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.
  12. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  13. 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.
  14. 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.
  15. 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?
  16. 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.
  17. This is a Bond with great body but no soul.
  18. There is more to the intertwined stories of Murrow and McCarthy than this simpleminded, rhetorically driven movie begins to encompass.
  19. 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.
  20. 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.
  21. 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
  22. 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.
  23. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  24. 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.
  25. A hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson ...would like it to be.
  26. 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.
  27. It’s a bit of a botch.

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