Time's Scores

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For 2,974 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Paterson
Lowest review score: 0 Life Itself
Score distribution:
  1. Positive: 1,807 out of 2974
  2. Mixed: 937 out of 2974
  3. Negative: 230 out of 2974
2974 movie reviews
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  1. Gosford Park
    Tedium overwhelms caring well before this endless film finally concludes.
    • Time
  2. Marty Supreme
    Through it all, we’re supposed to relish the emotional complexity of the story, or maybe even just its dark humor. Amorality can be fun, but Marty Supreme has no emotional core—though it does try to grab us in its final minutes, when Marty is unrealistically redeemed in a moment of mawkish sentimentality.
    • 86 Metascore
    • 30 Critic Score
    Bonnie and Clyde
    Director Arthur Penn have elected to tell their tale of bullets and blood in a strange and purposeless mingling of fact and claptrap that teeters uneasily on the brink of burlesque. Like Bonnie and Clyde themselves, the film rides off'in all directions and ends up full of holes...The real fault with Bonnie and Clyde is its sheer, tasteless aimlessness.
    • 85 Metascore
    • 30 Critic Score
    The Three Caballeros
    That rare event, a Disney failure...The movie as a whole presents the unhappy spectacle of a brilliant artist screaming his lungs out in an effort to make up for the fact that he has, for the moment, nothing to say.
  5. Rachel Getting Married
    The result is a mess. Kym, in Hathaway's unsympathetic performance, is an annoyingly sour observer of the proceedings, a time bomb everyone hopes will not explode before the marriage is completed.
    • 84 Metascore
    • 30 Critic Score
    The Black Stallion
    Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, their scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.
  7. Under the Skin
    Under the Skin falls in love with its bleak monotony. It is a melodrama with all the thrills surgically excised.
  8. Georgia
    It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
  9. A Simple Plan
    There's neither intricacy nor surprise in the narrative, and these dopes are tedious, witless company. Mostly you find yourself thinking, "How long until dinner?"
    • 80 Metascore
    • 30 Critic Score
    Cabaret
    By the time Scenarist Allen and Director Fosse have wrung them out, what's left - with one exception - is mostly slack and sour.
  11. i'm thinking of ending things
    For every moment of raw, affecting insight there are zillions of milliseconds of Kaufman’s proving what a tortured smartie he is. I’m Thinking of Ending Things must have been arduous to make, and it’s excruciatingly tedious to watch.
  12. Chuck & Buck
    Crude and inept.
    • Time
  13. Okja
    Okja takes the worst impulses of Walt Disney, Wes Anderson, Tim Burton and Michael Moore and rolls them into one movie.
  14. Erin Brockovich
    Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
  15. That Thing You Do!
    There's evocative atmosphere in the period detail and perky faux-'60s tunes. A pity these are wasted in a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
  16. Ed Wood
    This Ed Wood is dead wood.
    • Time
  17. Quills
    This is soft-gore porn, obvious in its strategies, witless in the play of its ideas, absurdist only in its pretense to seriousness.
  18. Soul Food
    It could be a distillation of some unaired black soap opera, so predictable are the plot contrivances--adultery, pregnancy, illness, missing money--and so cartoonishly are the characters drawn.
  19. Body Double
    His point here seems to be that voyeurism can induce a trancelike emotional paralysis—a message feminists could appreciate if Body Double took less pleasure in the mechanics of mutilation, and that ordinary moviegoers could ponder if the characters' motivations were not so numbingly nitwit. Upscale sleaze—so what else is new?
  20. Braveheart
    Braveheart is too much, too late.
  21. My Cousin Vinny
    Nothing makes a moviegoer feel more isolated than sitting stony-faced through a comedy that makes the rest of the audience laugh and cheer. Am I blind? Or are they seeing things?
  22. Swimming to Cambodia
    His is a dispassionate sensibility, and he is not a strong enough actor - nor has he a strong enough intelligence - to fight his way out of the false analogy he has drawn between moviemaking and tragic history in the making.
  23. Margot at the Wedding
    This is moviemaking for people who don't much like movies unless they are -- you know -- "serious." It is visually inert. It appears to be taking up small-scaled, yet emotionally resonant issues, but does not actually define them sharply or bring them to firm conclusions.
  24. Nixon
    The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
    • 66 Metascore
    • 10 Critic Score
    Butch Cassidy and the Sundance Kid
    Every character, every scene, is marred by the film's double view, which oscillates between sympathy and farce.
  26. Mrs. Parker and the Vicious Circle
    Jennifer Jason Leigh's draggy performance as Parker is all studied accent (something vaguely mid- Atlantic but never before heard on Earth) and equally studied self-pity and it cannot sustain our sympathy, or our interest in this inept film.
  27. Crooklyn
    Our natural sympathy for the Carmichaels is sabotaged by crude and careless moviemaking.
  28. Silkwood
    There is none of the affectionate respect for working-class life and values that marked the similar, and far superior, "Norma Rae," nor any of that film's sense of felt reality either.
  29. Secretary
    Writer-director Shainberg seems to be aiming for a dark comedy, but mostly his movie is coy without being funny, ugly without being truly transgressive, stupid when it needs to be smart.
  30. Spring Breakers
    "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.
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