Time's Scores

For 1,998 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: 66
Highest review score: 100 Singin' in the Rain
Lowest review score: 0 Collateral Beauty
Score distribution:
1998 movie reviews
  1. Director Rodrigo Cortes intends us to feel trapped, twitchy and unhappy and at the same time, wildly grateful we're not actually in the box like Paul. I could do without that kind of guilt trip from a film.
  2. More a case history than a devious puzzle, the movie is like a story overheard from the next restaurant booth: for all your curiosity as to how it turns out, you're not likely to have much personal investment in the people.
  3. Rain Man's restraint is, finally, rather like Raymond's gabble. It discourages connections, keeping you out instead of drawing you in. [19 Dec 1998]
    • Time
  4. Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
  5. How well do Bond's established conventions survive after a third of a century's hard use, the post-cold war deglamourization of espionage and the arrival of yet another actor in the central role? The short answer is, on wobbly knees.
  6. Dark, detailed and only really gets going when the gunplay starts.
  7. Well acted and, within its limited terms, well made, Gallipoli represents a failure of nerve as well as design.
  8. Too bad that First Class torpedoes its lofty intentions with flights of idiocy so wrongheaded as to be almost endearing.
  9. Alien: Covenant is reasonably entertaining. But it slips off course after that opening section, and the problem is caused by the very creatures we presumably came to see.
  10. Deadpool, intended as a spiky antidote to superhero oversaturation, ends up impaling only itself.
  11. Sells out real satirical possibilities to its marketing potential as teen fluff. Everyone loses -- except Hedaya, who keeps faith with his character's nutsiness.
  12. This spectacle of strenuous improvising is more stunt than true experiment.
  13. Shaggily amusing but familiar and way-too-long.
  14. It is very tiresome peering through the gloom trying to catch a glimpse of something interesting, then having to avert one's eyes when it turns out to be just another brutally tormented body.
    • 65 Metascore
    • 40 Critic Score
    Actor Eastwood, the sometime star of television's Rawhide, is certainly not paid by the word. In Fistful he hardly talks at all. Doesn't shave, either. Just drawls orders. Sometimes the bad guys drawl back. Just as tersely. Trouble is, after they stop talking, their lips keep moving. That's because the picture is dubbed. Like the villains, it was shot in Spain. Pity it wasn't buried there.
  15. Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
  16. My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
  17. It's a feast for the eyes, but we're still hungry.
  18. An idiot-savant movie, knowing but not smart.
  19. Stuff still leaps out of the screen -- the snake striking a victim, cars sent flying by Death Eaters -- but few things in the movie lodge in the audience's mind or heart.
  20. The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
  21. The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
  22. Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
  23. The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
  24. You get 45 minutes of awesome encased in 90 minutes of yawnsome.
  25. I wanted very much for West's new movie to evoke films like "The Others" or "The Orphanage," which made me, in the moment at least, a believer in ghosts. The Innkeeper's payoff lacked that kind of oomph, and weirdly, the pairing of Luke and Claire brought movies about work relationships, like "Clerks" and "Office Space," more to mind than ghost stories.
    • 64 Metascore
    • 60 Critic Score
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
  26. Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
  27. Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
  28. Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.

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