Time's Scores

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For 2,973 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: 1,806 out of 2973
  2. Mixed: 937 out of 2973
  3. Negative: 230 out of 2973
2973 movie reviews
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  1. Wonder Woman
    Gadot is simply marvelous. Physically, she’s bold and commanding. But there’s a sweetness about her too, as if she and Jenkins understand intuitively that Wonder Woman can’t just be blandly awesome. She's got to be able to feel wonder too.
  2. War Machine
    Examples of absurdly misguided thinking--on the part of the U.S. military and the government--stack up quickly, and Michôd tracks it all with a sly wink.
  3. Wonderstruck
    Wonderstruck embraces so many shimmery, evanescent ideas, it’s a marvel that any one picture—let alone one you can take your kids to—can hold them.
  4. The Meyerowitz Stories (New and Selected)
    Sandler is terrific here, even if you’re not sure you can stomach another man-child shuffling around in rumpled shorts.
  5. Wind River
    It does show us, in threads deftly woven, how circumstances can push hard against people, making everyday living a battle.
  6. The Beguiled
    Though it borrows some of the gauzy mood of The Virgin Suicides, it’s essentially unlike any other Sofia Coppola film, a serene, supple picture that hits more than a few notes of despair.
  7. Okja
    Okja takes the worst impulses of Walt Disney, Wes Anderson, Tim Burton and Michael Moore and rolls them into one movie.
  8. Alien: Covenant
    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.
  9. King Arthur: Legend of the Sword
    It's all more wearying than fun. Except for Law, whose courtly sangfroid can elevate even the dumbest roles.
  10. The Lovers
    A wry, openhearted, vaguely outré romantic comedy, albeit a bittersweet one.
  11. The Circle
    The story condescends to Mae, and, by extension, to smart, ambitious millennials everywhere — I’m not a millennial, but I felt offended on their behalf.
  12. Guardians of the Galaxy Vol. 2
    In striving to surprise us every minute with its seen-it-all irony, Guardians Vol. 2 is actually the surprise-spoiler of all time—our every “Wow!” or “Haha!” has been scripted in advance.
  13. Jeremiah Tower: The Last Magnificent
    The best sequences are those incorporating vintage footage from the 1970s-era Chez Panisse, where Tower, as a young, rakish beauty — quite clearly gay, but also pansexual in the dashing way people were allowed to be in those days — was the crown prince of the kitchen.
  14. The Lost City of Z
    Pictures with the grand sweep and dreamy energy of The Lost City of Z don’t come along every year—they barely come along at all. This is itself a message in a bottle, a missive from a lost city of movies.
  15. The Assignment
    Not all of Hill’s movies are great, and The Assignment certainly isn’t. Maybe, in the strictest terms, it isn’t even any good. But even a mediocre Walter Hill film has more style and energy — and a finer sense of the sweet spot between joy and despair — than ninety percent of the action thrillers that get made today.
  16. The Zookeeper's Wife
    But deeply earnest pictures aren't always great ones, and this movie's plot mechanics sometimes grind it down. The actors, at least, keep it breathing.
  17. Ghost in the Shell
    The genius of Ghost in the Shell is that you don’t have to care about cyborg-anything to enjoy it. In fact, you’ll probably enjoy it more that way.
  18. CHIPS
    CHIPS is just tiresomely stupid.
  19. Life
    This is an effective and unsettling piece of filmmaking, partly because Gyllenhaal has one of the most sympathetic faces in movies today--it's haunted and haunting.
  20. T2 Trainspotting
    T2 squeaks by on the charm of its actors, all of whom still look pretty damn good -- especially McGregor, who remains a charismatic wag.
  21. Personal Shopper
    Personal Shopper is a strange and beautifully made film, and both star and director are clearly energized by their dual mission.
  22. Kong: Skull Island
    The picture is grand and nutty and visually splendid: Vogt-Roberts knows he's gotta go big or go home, so he treads boldly.
  23. Beauty and the Beast
    There’s no need to worry that this version might crush the gentle charms of the 1991 picture: Even though Condon more or less faithfully follows that movie’s plot, this Beauty is its own resplendent creature.
  24. Get Out
    Peele succeeds where sometimes even more experienced filmmakers fail: He’s made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you’re laughing even as you’re thinking, and vice-versa.
  25. XX
    A mini-showcase of smart, thoughtful contemporary horror.
  26. Logan
    The picture is mostly tedious and unpleasant, which is a shame for the sake of the performers. Jackman works hard here, and his performance does away with vanity altogether.
  27. My Life as a Zucchini
    My Life as a Zucchini is so warm, so alive, that we forget we're watching cartoon figures. And when they belong to us, they're no longer orphans.
  28. The Great Wall
    It sure is handsome-looking, throwing off a majestic gleam. But that’s not the same as possessing actual majesty. There’s barely a minute when The Great Wall doesn’t veer into the trying-too-hard zone, and to watch all that striving is simply exhausting.
  29. A Cure for Wellness
    Maybe even more surprisingly, about 70% of the crazily imaginative plot hangs together. But the other 30%, sloppily thought out and superfluous, drags the movie down.
  30. Kedi
    Delightful and visually splendid.
  31. The LEGO Batman Movie
    After that kick-ass opening, the picture devolves into an action-action-plot-action-plot-action monotone.
  32. John Wick: Chapter 2
    John Wick: Chapter 2 has style to burn, and oh! what violence — terrible, bone-crunching, glorious violence, beautifully orchestrated by director Chad Stahelski.
  33. Fifty Shades Darker
    There’s one significant problem with both Fifty Shades movies that’s impossible to ignore. Dornan is just a dud.
  34. I Am Not Your Negro
    Peck captures all that’s galvanizing and forceful about Baldwin’s words and demeanor.
  35. The Space Between Us
    If you dare to keep track, the dumb stuff in The Space Between Us piles up quickly.... But it's not as easy to make fun of the mild sweetness at the heart of the movie.
  36. I Am Michael
    Franco's performance, particularly as he portrays the post-"conversion" Michael, is hard to read: the character drifts through the later scenes as if he'd been body-snatched. And, in some ways, he was.
  37. A Dog's Purpose
    As the film's producers investigate the circumstances of that leaked video, at least there's also evidence of canine joy in A Dog's Purpose, in the form of movie-star mutts chasing their tails and fetching semideflated footballs. That part looks like fun--and when fun is involved, a dog's face doesn't lie.
  38. The Founder
    The Founder is so entertaining, it scans like a tongue-in-cheek satire. But processing it is a little like taking a watch apart — suddenly, you get a sense of how complicated the world’s inner workings are, even today. It’s all there in Keaton’s watchful, calculating eyes. The world has changed a lot in 60 years. But the art of the deal hasn’t.
  39. Split
    Split is compulsively watchable.
  40. Patriots Day
    Patriots Day, muscular and confident, falls right in line with Berg’s other work. And you might feel a little dirty after watching it, as if you’d been granted access to real-life suffering and tragedy that perhaps should have remained private.
  41. A Monster Calls
    Meticulously and sensitively made, though its best moments may be the lovely but intense watercolor-toned interstitial animated sequences that illustrate the monster’s thorny spiritual allegories, cartoons for grownups rather than for little ones.
  42. The Shallows
    One of the most perfectly constructed pictures of the whole year, a taut, magnetic, visually splendid little package anchored by a sly star turn from Blake Lively.
  43. Paterson
    It’s about love and poetry and dreams, and about the chance encounter that can close a wound with the magic efficiency of a tiny butterfly bandage. How you pour all of that into one movie is something of a mystery. But then, a good poem is always something of a mystery too.
  44. 20th Century Women
    This picture has a more melancholy, resonant edge. And as with "Beginners," there’s an extraordinary performance at its heart: Bening is terrific, getting at the way middle-aged loneliness and contentment can be so intermingled that it’s almost impossible to tell which is which.
  45. Toni Erdmann
    To say Toni Erdmann is funny doesn’t even begin to capture the out-there texture of the jokes, and of the actors’ timing.
  46. Hidden Figures
    Hidden Figures, both a dazzling piece of entertainment and a window into history, bucks the trend of the boring-math-guy movie.
  47. Silence
    Silence is something to see whether you’re certain there’s a God or whether you just believe in sunlight, which covers just about everybody.
  48. Passengers
    Inside this failed picture there’s a sicker, darker, more truthful one crying to get out. But for a while, Passengers is really going for something. The movie it might have been is lost in space, alone, never to be seen by mere mortals. All we can see from Earth are its few brightly burning scraps, but at least it’s something.
  49. Sing
    It jumps around from song to song, and from plot point to plot point, unable to trust in the attention spans of modern children, or even just modern human beings.
  50. Fences
    In the end, it feels too much like a school assignment. Washington approaches the material with canonical reverence, but that isn’t the same as shaking it up and bringing it to life on-screen.
  51. Assassin's Creed
    Assassin’s Creed the movie is fairly innocuous. It’s also cheerless and dumb.
  52. Collateral Beauty
    Every so often there comes a movie so tasteless, so nakedly pandering, so bodaciously ill conceived that you’ve got to see it to believe it. This year, that movie is Collateral Beauty.
  53. Rogue One: A Star Wars Story
    The story hits every expected beat, right when you expect it to. And it squanders some of its best resources.
  54. Things to Come
    Huppert is extraordinary — she reveals everything even when you think she’s showing nothing — and she’s the perfect actress, right now, for Hansen-Løve’s fine-grained perceptiveness.
    • 74 Metascore
    • 90 Critic Score
    Harry Benson: Shoot First
    Don’t blink–not even once. That’s the best advice for viewers of the dazzling new documentary Harry Benson: Shoot First.
  56. Jackie
    Where’s the line between a sensitive work of imagination and an invasion of real-life grief in the service of arty filmmaking? There’s a lot of clever technique in Jackie, like its canny, razor-precise editing. But there’s also something arch and distant about the picture.
  57. Lion
    By the time Lion has really begun, it already seems half over. That’s not to say the picture isn’t satisfying in a straight-to-the-gut way.
  58. Rules Don't Apply
    This is a picture Beatty has wanted to make for years, and if the movie isn’t the achievement it should be, it’s at least entertaining in fits and starts.
  59. Miss Sloane
    Storytelling efficiency is one of Miss Sloane’s most effective calling cards — that, and Chastain.
  60. Allied
    Zemeckis uses technology to elicit the feeling we get when we watch old favorites. It’s almost like Smell-o-Vision, but with intensified visuals instead of aromatics. Even within this highly synthetic world, Pitt and Cotillard give sturdy, coded performances that feel naturalistic, not phony.
  61. The Edge of Seventeen
    The Edge of Seventeen is particularly perceptive in how it deals with teenage sex—maybe even with sex in general.
  62. Manchester by the Sea
    Casey Affleck is both the soul and the anchor of the movie.
  63. Almost Christmas
    You’ve seen most of this before, but that’s pretty much the point: The familiarity of the setup means the actors can just knuckle down and do their thing, and their energy keeps the movie rolling at a clip.
  64. Billy Lynn's Long Halftime Walk
    Everything in Billy Lynn’s Long Halftime Walk should work — and yet the picture falls flat. It’s a story enslaved by a director’s approach rather than served by it. His mannered placement of the camera is hard to ignore, and the actors suffer for it.
  65. Fantastic Beasts and Where to Find Them
    The picture—directed by David Yates, who also gave us the last four Harry Potter films, terrific ones—feels both sprawling and crowded, as if it were trying to pack too much mythology into one cramped crawlspace.
  66. Elle
    Even by the out-there standards of "Basic Instinct" and "Showgirls," Paul Verhoeven’s latest, Elle, is a thing to behold. Part thriller, part obsidian-black comedy, part cerebral firebomb, it’s confrontational, terrible and glorious. You almost can’t believe such a picture exists.
  67. Doctor Strange
    Doctor Strange has one significant quality that most Marvel adaptations lack: A sense of humor about itself, which it wears as lightly as the most gossamer Cloak of Levitation.
  68. In a Valley of Violence
    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.
  69. Keeping Up with the Joneses
    Still, at its best Keeping Up with the Joneses riffs on something very real: the existential loneliness of living in a place that’s just too perfect. Everyone needs new friends now and then – even ones who make you eat snake.
  70. Christine
    Hall’s Christine draws us closer rather than pushing us away — this performance is a quiet, multidimensional marvel.
  71. Kevin Hart: What Now?
    Sometimes raw but mostly just raucous, Hart generally pulls it off in his third concert film.
  72. The Accountant
    The Accountant would be more entertaining if it just acknowledged its own nerdy outlandishness. Still, it’s something to watch Affleck play a man who has trouble expressing his feelings and struggles to read those of others.
  73. Newtown
    It’s been said that if the U.S. couldn’t tighten its gun-control laws after Sandy Hook, it never will. But Newtown refutes hopelessness, making its case less with words than with faces it’s impossible to forget.
  74. The Birth of a Nation
    The Birth of a Nation isn’t a great movie – it’s hardly even a good one. But it’s bluntly effective, less a monumental piece of filmmaking than an open door. Parker stars as Turner, and his performance is grounded and thoughtful – he may be a better actor than he is a director.
  75. The Girl on the Train
    The Girl on the Train is less a thriller than a morality tale reminding us never to make snap judgments. No matter how dreadfully some characters behave, we’re not allowed to dislike anyone for long. That kind of catharsis isn’t allowed.
  76. Miss Peregrine's Home for Peculiar Children
    Miss Peregrine’s Home for Peculiar Children could have been a return to form for Burton, but he loses his sense of direction halfway through. If only he could find his way back to his wild bread-crumb trail, the one that guided him so ably for years.
  77. Deepwater Horizon
    Malkovich sure isn’t subtle, either, but that’s the point: his job is to get your blood boiling, and boy, he’s good at it.
  78. American Honey
    Over and over, American Honey calls attention to how observant it is, rather than just being observant.
  79. Storks
    As with most animated films today, there’s lots of boring bromides about “family” and “belonging” that you have to suffer through to get to the good stuff.
  80. The Magnificent Seven
    The picture is action-packed but mindlessly so, and it’s neither light enough to work as a coltish entertainment nor smart enough to cut beyond anything but the most rote notions of masculinity.
  81. Moonlight
    A coming-of-age movie, and a love story, that leaves you feeling both stripped bare and restored, slightly better prepared to step out and face the world of people around you, with all the confounding challenges they present. There’s not much more you can ask from a movie.
  82. Nocturnal Animals
    As shot by the gifted cinematographer Seamus McGarvey, Nocturnal Animals is beautiful—or at least arresting—every minute, and it sure isn’t boring. But it’s unclear exactly what Ford is trying to say, though it’s clear he’s trying hard to say something. And that’s the most frustrating thing about this picture.
  83. One More Time with Feeling
    Both gentle and staggering, an examination of the way our personal experiences can spur creativity—or render it inconsequential.
  84. Hacksaw Ridge
    I don’t think you could tell this story properly or honestly without being forthright about the horrors of the Pacific Theater, and as Gibson dramatizes them, they put Doss’ actions in jaggedly sharp perspective.
  85. Arrival
    Adams gives a nicely polished, muted performance: She keeps the story grounded when the ideas Villeneuve is striving for threaten to get too lofty. And the picture is intelligently and effectively crafted, one of those enterprises where the cinematography, sound design and score, as well as the special effects, melt into a seamless, organic whole.
  86. La La Land
    La La Land is both a love letter to a confounding and magical city and an ode to the idea of the might-have-been romance, in all its piercing sweetness. It’s a movie with the potential to make lovers of us all. All we have to do is fall into its arms.
  87. Hell or High Water
    Bridges knows just what he’s doing, and with the splendid West Texas waltz of a drama, Hell or High Water, British director David Mackenzie has given him the perfect hook on which to hang his hat.
  88. Pete's Dragon
    Lowery stumbles, working too hard to squeeze a response from us.
  89. Suicide Squad
    Harley Quinn’s entrance is the best moment in Suicide Squad. After that, you can leave. Robbie is a criminally appealing actress, likable in just about every way, but that intro aside, Suicide Squad doesn’t serve her well. It serves no one well, least of all its audience.
  90. Equity
    You don’t need to be a woman working in finance to get a shivery thrill—and possibly a few chills—from watching Equity, a modestly scaled but perceptive drama about an investment banker who just happens to be a woman.
  91. Jason Bourne
    Greengrass, a meticulous, thoughtful filmmaker (he also directed the second and third films in the series, The Bourne Supremacy and The Bourne Ultimatum), clearly believes in what he’s doing. But his earnestness is at odds with the movie’s desperate, frenetic desire to keep us engaged every minute.
  92. Star Trek Beyond
    Lin keeps this tense adventure (co-written by Doug Jung and Simon Pegg, who also reprises his role as chief engineer Scotty) from stumbling over its own excess: he knows that any good Star Trek needs wit as well as spectacle.
  93. Ghostbusters
    The movie glows with vitality, thanks largely to the performers, who revel in one another’s company.
  94. Captain Fantastic
    So where’s the line between rigid parental standards and possible abuse? Captain Fantastic crab-walks tentatively toward that question, and even though its conclusion feels rushed, the movie still works as a portrait of an unorthodox family that’s well adjusted in its own odd way.
  95. Independence Day: Resurgence
    Goldblum manages to rise above the proceedings via his invisible jetpack of dry wit — thank God for that. The only newcomer who emerges unscathed is Gainsbourg, who glides through this mess with Zen equanimity—even as chaos reigns, she keeps her cool.
  96. Me Before You
    Cheerful and efficient, this is the stripey tights of melodramas.
  97. Popstar: Never Stop Never Stopping
    Together, the three wheel through absurd gags that shouldn’t work and somehow make them sing, giving the movie a loose, joyous energy.
    • 52 Metascore
    • 30 Critic Score
    X-Men: Apocalypse
    The movie’s top-flight cast is left in ridiculous positions.
  99. The Nice Guys
    The modest pleasures of The Nice Guys lie not in following the wiggy story twists but in watching Gosling and Crowe mix it up and mess everything up.
  100. The BFG
    This ambitious blend of live action and computer animation runs the risk of being overwhelming and sterile, but it turns out to be a pleasing and sweet-natured adventure thanks in large part to Spielberg’s big, friendly secret weapon: Mark Rylance, as the BFG himself.
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