Time's Scores

  • Movies
  • TV
For 1,715 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: 65
Highest review score: 100 United 93
Lowest review score: 0 W.E.
Score distribution:
1,715 movie reviews
  1. Solondz observes all this activity from an objectifying distance, very much the anthropologist trekking through the heart of darkness
  2. As fine--hard, soft, approachable--as any in movie history.
    • Time
  3. It's a real family film, relatively light on the violence and funny without being overly crude; it even has some touching moments.
  4. Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
  5. It is vigorous, subtle, thematically daring, visually gorgeous.
  6. A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]
    • Time
  7. A contemplative crime drama with a high startlement quotient.
  8. Bursting with earned emotion, Hugo is a mechanism that comes to life at the turn of a key in the shape of a heart.
  9. 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.
  10. The funniest, cleverest, most exhaustingly exhilarating animated feature in ages.
  11. The most beguiling romantic comedy this side of "Broadcast News." [11 Jan 1988]
    • Time
  12. Reitman's blend of comedy and drama, romance and social observation make Up in the Air the ideal movie --- and maybe even a cure -- for the Great Recession blues.
  13. This being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces.
  14. This very patient film reaches out and unshakably grips us.
  15. We the viewers are its beneficiaries, watching and waiting for something awful to happen. Here it does, first subtly, then spectacularly. The twist is not revealed until the last shot--if you keep your avid eyes open.
  16. Big and pretty, vigorous, thoughtful, this Hamlet expands the story with helpful flashbacks.
  17. A final word for those of you who just don't care for musicals: The movie's true lyricism is less in its score than in its visual and emotional palette, and in watching Depp rise to the majesty of madness. So give Sweeney Todd a try. Even Victor, when he finally saw it, agreed: it's bloody great.
  18. The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
  19. Unforgiven questions the rules of a macho genre, summing up and maybe atoning for the flinty violence that made Eastwood famous. [10 Aug 1992]
    • Time
  20. This is a survival manual turned into an existential prison-break movie; it cuts deep and, at its ecstatic climax, soars high.
  21. Indeed, you could argue that Tell No One is a variant on one of Hitchcock's favorite themes: the running man whose story no one (except us in the audience) believes. These fictions, of course, depend for their success on the French respect for rationalism (and their horror when reason is torn asunder by criminal irrationality).
  22. I wish I found The Illusionist as pleasing to sit through (twice) as to write about. I'm glad there's a "new" "Tati" film to add to his small, important body of work, yet I wish that the creator of "The Triplets of Belleville" had made a true Chomet film instead. I'll be waiting for that, with a hope to be found nowhere in this handsome, airless movie.
  23. The movie is a museum of emotions, brought to contemporary life through the director's artistry and his leading lady's fire. Here, they show us, is how people felt, and hurt, in another time. Their love and pain can touch us today.
  24. Comic, suspenseful, romantic.
  25. A movie that may be just a bit too pleased with its own artful bleakness.
  26. There is something brave and original about piling up most of our worst parental nightmares in one movie and then daring to make a midsummer comedy out of them. It really shouldn't work, but it does. The movie does not linger too long over any moment or mood, and it permits characters to transcend type, offering a more surprising range of response to events. [7 August 1989, p.54]
    • Time
  27. This isn't just a thrill ride; it's a rocket into the thrilling past, when directors could scare you with how much emotion they packed into a movie.
  28. Intellectually austere but technologically and aesthetically riveting documentary.
  29. The Squid and the Whale is domestic tragedy recollected as comedy: a film whose catalog of deceits and embarrassments, and of love pratfalling over itself, makes it as (excruciatingly) painful as it is (exhilaratingly) funny.
  30. Three of the hippest indie film princes make a perfect commercial comedy.

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