Time's Scores

For 1,995 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 A Bug's Life
Lowest review score: 0 Untraceable
Score distribution:
1995 movie reviews
  1. Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  2. The film's director, Kevin Macdonald, who did "The Last King of Scotland," is not a flair fellow. The chase scenes interpolated into this version have no special oomph; the encounters no residual kick. Paging Ridley Scott? Oh, sorry, too late. So there it is: another film that can't compete with a TV show.
  3. But it IS a movie about dopes: goofy guys, born without the ambition gene, and who would not survive a minute in the drug world, or the real one, without the guardian angel of a scriptwriter hovering to think them out of scrapes.
    • 64 Metascore
    • 60 Critic Score
    The insertion of attractive Hollywood stars into a daunting landscape makes for some odd contradictions of scale as the story unfolds with white-knuckle inevitability. [28 Sept. 2015, p.61]
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  4. The movie’s ending is little more than a fizzle. But wow, what a dog. The extraordinary animal actor Jumpy, a border collie mix with fabulous speckled legs and alert triangles for ears, listens attentively to every word from his master’s mouth, comprehending nothing yet understanding everything.
  5. At 2 1/2 hours, it all plays like the rough assembly of a 90-min. caper film--an anecdote told at epic length. Grier, foxy lady of '70s blaxploitation, is given little chance to radiate. [22 Dec 1997, p.80]
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  6. Agreeable but never compelling, Silverado proves it takes more than love of the western to make a good one. Maybe the dudes at K-Tell were a mite too slick for the job.
  7. Rumble Fish is the messiest, most provocative inkblot of the year.
  8. Sensitive souls in search of wrenching emotion can be guaranteed their Kleenex moments; you will get wet. But aside from that opening scene, you will not be cinematically edified. This is a bad movie.
  9. When he had started playing this game of Save the Planet—when he was roguish Sean Connery and the world was so much younger—Bond had been a kind of role model for people of a certain class and ambition. Savoir-faire meant the aristocracy of style: which wine to decant, which brand of cigarette to smoke, which automatic weapon to carry under the armpit. Now that he was Roger Moore, 20 years later, Bond had degenerated into a male model, and something of a genial anachronism.
  10. The result is tiresome and tone-deaf and a disappointing comeback for Bogdanovich.
  11. Whereas Italian fashion icon Valentino was larger than life in "The Last Emperor," Matt Tyrnauer's jazzy 2009 documentary, Saint Laurent in L'Amour Fou is mostly a rather sweet and anguished ghost.
  12. For a viewer sympathetic to Schwarzenegger's and Cameron's best selves -- the ironist with muscles and the mordant fabulist -- True Lies is a loud misfire. It rarely brings its potent themes to life.
  13. In ingenuity and charm, this DreamWorks offering isn't up there with "Kung Fu Panda," which remains the sharpest, fullest film from the studio. You may get the feeling that Megamind was made for, and possibly by, really smart six-year-olds. Nothing wrong with that; audiences of all ages can be tickled by the higher form of preadolescent humor.
  14. The problem is that this pot of intrigue takes ages to boil, and the cook refuses to turn up the heat. And if vitality is not an element Sayles cherishes, neither is nuance.
  15. Uneven but occasionally quite funny.
  16. As handsome and slack muscled as a surfer past his prime, the movie renounces ambiguity for confusion. In the end, like an old set of tires or a frayed friendship, Tequila Sunrise just wears out. [19 Dec 1988, p.79]
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  17. Suspense isn't Burns' thing though, and it may be foolish to even ask for it this far into his career. Burns has made it crystal clear what his style is: lots of chatty, mostly amiable folks, working out their not so troubling differences in the greater New York metropolitan area.
  18. 42
    Boseman is not a hugely close physical match to Robinson, except for perhaps in the power he conveys, but he’s a great choice to play the ball player, unfamiliar enough, despite a decade of small credits here and there, to feel like an athlete, not a movie star playing one.
  19. Grace is not as tightly wound as the best of its breed, but it is a genial way to pass the time.
  20. The Keane story is a rich parable that deserves either a wilder or a more acute telling than Burton provides here.
  21. She (Blanchett) seems the only guardian of sanity in this good-old-boy Bellevue.
  22. It's hard to know whom to blame for the film's choppiness, its mixture of rage and sentimentality, the stridency of some of the acting.
  23. Something more surprising might have been made of this odd couple, but Van Sant, emptily employing the realist manner of his early films, is goodwill hunting in all the wrong places.
  24. This naive little movie hopes to prove itself the Flashdance of football.
    • 62 Metascore
    • 40 Critic Score
    Well, the big questions might as well be answered first. Is Jaws 2 as scary as the original Jaws? No. Is it as much fun? No. Will it make as much money? No. Is it a total catastrophe? Not quite. What, then, is Jaws 2? Quite simply, it is an almost scientific exercise in showbiz mediocrity. This smooth and passionless spectacle is too impersonal to win anyone's affection and too inoffensive to inspire hatred. It's so bland that it evaporates from memory as soon as the final credits appear onscreen.
  25. Anyone grownup enough to gain legal admission to the movie (it is rated R) will probably find himself either reduced to guffaws or wishing he had stayed home looking at his poster of Nastassia Kinski wearing a snake.
  26. Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
  27. Dispassionate, curiously lifeless, lacking the energy of either youthful commitment or a deeply engaged re-examination of the past.
  28. Five-Year has comic bloat. Virtually every character gets their own moment of stand up, but in most cases, the bits aren't funny enough to warrant the screen time.

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