Tampa Bay Times' Scores

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For 1,471 reviews, this publication has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Blair Witch
Score distribution:
  1. Positive: 818 out of 1471
  2. Mixed: 501 out of 1471
  3. Negative: 152 out of 1471
1471 movie reviews
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  1. Blue Is the Warmest Color
    Kechiche's doting on entwined limbs, thrusting pelvises and oral stimulation, all carefully posed and continued longer than necessary to get his point across, races beyond titillation to creepy voyeurism.
  2. Phantom Thread
    Paul Thomas Anderson’s Phantom Thread is passionless window-shop cinema, each static tableau lovingly arranged for display and easy dusting. Its centerpiece is a mannequin, albeit played by Daniel Day-Lewis, whose gift for keeping anything interesting is seldom so necessary.
  3. Life Is Sweet
    Leigh's characters merely act in a goofy and irritating fashion until their dramatic pay-off scenes. This uneven style cheats fine actors out of the chance to shade their roles rather than rely upon black-and-white emotions. [6 Mar. 1992, p.10]
    • Tampa Bay Times
  4. Withnail and I
    Withnail and I is one of those pictures that manages to be consistently amusing and grating at the same time. It stirs some good memories while pointing to the aimlessness of an era. [2 Oct 1987, p.5D]
    • Tampa Bay Times
  5. Hope and Glory
    It's unfortunate a picture as lovingly envisioned and beautifully rendered as Hope and Glory has to struggle to find a resolution. [25 Dec 1987, p.7]
    • Tampa Bay Times
  6. Kubo and the Two Strings
    Kubo and the Two Strings is lovely to behold, if viewers manage to keep their eyes open. It's an animated doozy and drowser at once, an uncomfortable mix of Miyazaki-style imagination and generic dullness.
  7. Glengarry Glen Ross
    It's a scathing, somewhat setbound movie about greed, manipulation and the depths to which some people sink to survive. It's a movie that a lot of Americans can identify with. That's what makes it so painful to endure. [02 Oct 1992, p.9]
    • Tampa Bay Times
  8. The Post
    Steven Spielberg’s The Post is a fake news movie, a true story told phony to further an agenda.
  9. Coco
    It’s so respectful that vibrancy suffers. Coco is a bright pinata of a movie that breaks and nothing falls out.
    • 81 Metascore
    • 40 Critic Score
    Driving Miss Daisy
    Movies like Miss Daisy purport to be humanistic or aimed at a higher consciousness, but they're as self-righteous and silly as the one-dimensional characters they depict. [12 Jan. 1990, p.7]
    • Tampa Bay Times
  11. The Big Short
    McKay's frustration about the financial crisis is obvious, his instinct of how to engage viewers less so. Buyer beware.
  12. Ju Dou
    The young Tianbai, Zheng Jian, is as demonic as a flesh-and-blood Michael Myers. Yet Ju Dou is grounded in the stark reality of turn-of-the-century China, where Confucian law has governed life for generations and where adultery is punishable by ostracism or death. [19 Jul 1991, p.7]
    • Tampa Bay Times
  13. Lifeboat
    Lifeboat is one of Alfred Hitchcock's weakest films, yet it remains a notable experiment for its ability to maintain a sense of action despite its cramped setting. [9 March 1990, p.10]
    • Tampa Bay Times
    • 78 Metascore
    • 60 Critic Score
    Glory
    Glory ends with a flourish, although much is left unsaid. [12 Jan 1990, p.21]
    • Tampa Bay Times
  15. It Comes at Night
    It Comes at Night lays down a heavy layer of dreadful promise and doesn't follow through. Edgerton's fine performance is overshadowed by a title and ad campaign springing a bait-and-switch scam on horror fans.
  16. Chungking Express
    Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
  17. After Dark, My Sweet
    Foley's screenplay and direction constantly require viewers to re-evaluate the trio and their relationship with one another. This works as long as the dialogue is tolerable, which isn't long enough. [07 Sep 1990, p.6]
    • Tampa Bay Times
  18. Jungle Fever
    The movie is too unwieldy and densely packed. The superb performances by Snipes, Sciorra, McKee, Turturro and Jackson can't overcome its sprawling nature. [7 June 1991, p.6]
    • Tampa Bay Times
  19. Zootopia
    Good intentions don't always make for good movies. Case in point: Zootopia, a Disney film with more on its mind than animated fun and fuzzies. So much, in fact, that it loses track of what audiences expect, what they're being sold.
    • 77 Metascore
    • 40 Critic Score
    No Way Out
    As the story lumbers on, the noose around Farrell's neck tightens and No Way Out gets funnier. Not by design, however. [14 Aug 1987, p.1D]
    • Tampa Bay Times
  21. Calvary
    Calvary becomes a lurid Agatha Christie yarn with something important to say about the church and Ireland that McDonagh can't fully articulate. Pulp keeps getting in the way.
  22. Dave
    A comedy that moves as slow and uncertain as a bill through Congress. [07 May 1993, p.8]
    • Tampa Bay Times
  23. Margin Call
    At least the latest movie about the financial meltdown doesn't make the same mistake as the last one. It also doesn't prove that a fictional film can explain the downturn's causes and effects better than a documentary.
  24. Darkest Hour
    Gary Oldman may finally get that Oscar he has long deserved for Darkest Hour, a movie that seems constructed to do little else.
  25. Sully
    Hanks keeps things interesting with an array of concerned expressions and distant gazes. But there's no tension in faked suffering. The actor and Eastwood's movie are limited by the goodness of their subject, the flawlessness of his actions.
  26. Interstellar
    Thankfully in space, no one can hear you yawn.
  27. The Unbearable Lightness of Being
    Dark, heavy and plodding, with imaginative sex and a strong sense of magnetism between its characters. [26 March 1988, p.1D]
    • Tampa Bay Times
  28. The Killing of a Sacred Deer
    The third act sustains a fevered level of absurdity and everything prior is stylish, well-acted yet off-putting.Art without any noticeable heart.
  29. Mission: Impossible - Ghost Protocol
    The strategy deserves to self-destruct in five seconds.
  30. Miami Blues
    Miami Blues is reminiscent of Demme's Married to the Mob and Something Wild. It has a superb sense of place. It savages Middle American tackiness. Regrettably, Miami Blues is even more mainstream and less developed than Married to the Mob. Its characters' lapses of logic and the holes in Armitage's script require a forgiving audience. The blood-letting at its conclusion necessitates a strong stomach. [20 Apr 1990, p.19]
    • Tampa Bay Times
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