Time's Scores

For 1,935 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: 66
Highest review score: 100 Cold Mountain
Lowest review score: 0 Cocktail
Score distribution:
1935 movie reviews
  1. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  2. 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.
  3. A hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson ...would like it to be.
  4. 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.
  5. 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.
  6. It’s a bit of a botch.
  7. 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
  8. To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
  9. 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
  10. 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.
  11. The result is a Big Mac of a movie, junk food that somehow reaches the chortling soul.
  12. 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.
  13. A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
  14. 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.
  15. After that kick-ass opening, the picture devolves into an action-action-plot-action-plot-action monotone.
  16. 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.
  17. 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
  18. 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.
  19. Doesn't offer much.
  20. 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.
  21. The film is one-note; misery is the only game in town.
  22. The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  23. Maurice (pronounced Morris) is all high-mindedness and good taste. It has no emotional tension or - heaven forfend - strong expression of frustration or need.
  24. The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
  25. This is the rough cut of a good movie, and a splendid opportunity wasted.
  26. 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.
  27. 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.
  28. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  29. 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.

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