Time's Scores

For 2,049 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Beasts of the Southern Wild
Lowest review score: 0 Jack and Jill
Score distribution:
2049 movie reviews
  1. The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  2. Maurice (pronounced Morris) is all high-mindedness and good taste. It has no emotional tension or - heaven forfend - strong expression of frustration or need.
  3. The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
  4. This is the rough cut of a good movie, and a splendid opportunity wasted.
  5. 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.
  6. 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.
  7. 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.
  8. Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
  9. 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.
  10. The film causes no tremors, only a hemi-Demme-semiquaver.
  11. 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.
  12. Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
  13. To Western eyes, this meandering parable registers as a perplexity and a disappointment.
  14. 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.
  15. Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
  16. 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.
  17. Mission: Impossible – Ghost Protocol is no "Fast Five."
  18. 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.
  19. Funny in its deplorable way.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Hail, Caesar! doesn’t completely hang together. But Johansson in a mermaid’s tail? Really, why else make movies—or go to them?
  27. 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.
  28. A movie this implausible shouldn't be this dull.

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