Time's Scores

For 1,839 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 MASH
Lowest review score: 0 Cocktail
Score distribution:
1839 movie reviews
  1. You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
  2. For all the carnage, Lee's tone is contemplative.
  3. Simultaneously diverting and annoying.
  4. Arthur Christmas is not ultimately a cynical movie – it comes together sweetly and rather movingly at the end – but it springs forth from a place of cynicism.
  5. Ginger & Rosa never matches the freshness of its young star.
  6. Can The Hunger Games, in the movie version directed by Gary Ross, successfully navigate the crossing from page to screen? Our answer: Eh.
  7. The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
  8. Gibson is a primitive all right, but so were Cecil B. DeMille and D.W. Griffith, and somehow we survived their idiocies.
  9. The Birth of a Nation isn’t a great movie – it’s hardly even a good one. But it’s bluntly effective, less a monumental piece of filmmaking than an open door. Parker stars as Turner, and his performance is grounded and thoughtful – he may be a better actor than he is a director.
  10. Its glorious, snow-capped visuals aside, The Hateful Eight comes off as haggard and atrophied. It’s bloodless even in the midst of all its bloodiness; its characters are devoid of nobility, even the horrible kind. These are uglies not even a mother could love.
  11. Christie has already won prizes for the knowing weariness of her performance, and Flynn Boyle probably deserves some for her ferociously stated frustrations. But their clarity can't quite cut through the thickness of the film's air or compensate for the wooziness it induces.
  12. It renders passion dispassionate and turns murder into a kind of fashion statement, something we observe without really caring about.
  13. Tries anything for a gross-out laugh — but feels oh-so-familiar
  14. At its shambling best, Office Space is like a bracing break at the coffee machine. Some horrible Monday, why not cut work to see it?
  15. The movie is way too colorful - cute, in a repulsive way, with its crawly special effects - and tame compared with its source.
  16. As shot by the gifted cinematographer Seamus McGarvey, Nocturnal Animals is beautiful—or at least arresting—every minute, and it sure isn’t boring. But it’s unclear exactly what Ford is trying to say, though it’s clear he’s trying hard to say something. And that’s the most frustrating thing about this picture.
  17. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  18. An ideal play is degraded into an indolent film
  19. Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
  20. Carano is her own best stuntwoman, but in the dialogue scenes she's all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire's heroine but its hostage.
  21. Watson makes a smooth matriculation from the England-made Harry Potter epics to this movie's thrifty, six-week Pittsburgh shoot.
  22. Nowhere Boy is a surprisingly conventional film - adroit at weaving a time-and-place mood but way too rigid dramatically to bring the Lennon family dynamic to life.
  23. Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
    • 67 Metascore
    • 50 Critic Score
    Earnest but costumey drama.
    • 67 Metascore
    • 60 Critic Score
    Another fond sketch of losers from the down-scale version of Woody Allen.
  24. Somewhere has a lot of good impulses, and a salutary faith in an audience's patience; but the film's tone, in its script, performances and visual style, is studiously uninflected. It's a document of people seen remotely, maybe from outer space.
  25. Ruby Sparks tries its damnedest to make a picture that seduces moviegoers into accepting it as their best imaginary friend forever. But the sweat shows more than the sparkle.
  26. Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
  27. When in doubt, director Tony Scott ("Top Gun", "Days of Thunder") lets loose a spray of water, sparks and sweat-the signature flourish of this Helmut Newton of movie machismo.
  28. It points out what's missing in his (Oshii) approach: fluidity of character line, the subtlety of expression that brought humanity to a Warner Bros. cartoon duck or rabbit.

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