Time's Scores

For 1,887 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: 65
Highest review score: 100 Inception
Lowest review score: 0 Two of a Kind
Score distribution:
1887 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. 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.
  4. 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.
  5. 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.
  6. In terms of quality, though, Argo is just so-so.
  7. Finally, though, Traffic, for all its earnestness, does not work. It leaves one feeling restless and dissatisfied.
  8. All attitude and low aptitude.
    • 84 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
  9. I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
  10. Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
  11. 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.
  12. 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.
  13. 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.
  14. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  15. 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.
  16. 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.
  17. 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?
  18. 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.
  19. This is a Bond with great body but no soul.
  20. There is more to the intertwined stories of Murrow and McCarthy than this simpleminded, rhetorically driven movie begins to encompass.
  21. 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.
  22. 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.
  23. 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.
  24. 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
  25. 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.
  26. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  27. 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.

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