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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    • 96 Metascore
    • 90 Critic Score
    The Philadelphia Story
    The result of all this high-priced maladjustment is terribly funny, terribly upper class. No one could have written it better than Plahywright Barry, who has written it often ("Holiday," "The Animal Kingdom," et al.)...It's a good, entertaining show.
  2. Ratatouille
    The subtle colors and textures of the food alone make Ratatouille a three-star Michelin evening.
    • 96 Metascore
    • 100 Critic Score
    The Grapes of Wrath
    The Grapes of Wrath is possibly the best picture ever made from a so-so book. It is certainly the best picture Darryl F. Zanuck has produced or Nunnally Johnson scripted. It would be the best John Ford had directed if he had not already made "The Informer."
    • 96 Metascore
    • 80 Critic Score
    The Lady Eve
    The picture returns the lately heavily dramatic Barbara Stanwyck to glamor, with 25 swank costume changes, and reveals homespun Henry Fonda, with a drawing room haircut and 14 sound tailoring jobs, as one of the screen's most socially eligible juveniles.
  5. Gravity
    Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.
    • 96 Metascore
    • 90 Critic Score
    Fantasia
    Though Disney's toddling cannot keep pace with the giant strides of Ludwig van Beethoven, Fantasia as a whole leaves its audience gasping. Critics may deplore Disney's lapses of taste, but he trips, Mickey-like, into an art form that immortals from Aeschylus to Richard Wagner have always dreamed of.
  7. Beauty and the Beast
    The voluptuousness of visual detail offers proof, if any more were needed after The Little Mermaid, that the Disney studio has relocated the pure magic of the Pinocchio-Dumbo years.
  8. The Bride of Frankenstein
    It is a perfect little masterpiece of high camp, not untouched by pity, terror and the desire to satirize boy-girl romances.
  9. One Battle After Another
    This is a comedy with grim underpinnings, set in a society where violence seems to be the only answer. Anderson doesn’t find that exhilarating—if anything, he’s despairing about it—yet he soldiers on, pinpointing some truths so somber and dismal that it hurts to laugh about them.
  10. The Social Network
    The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
    • 95 Metascore
    • 100 Critic Score
    My Fair Lady
    In this literal, beautiful, bountiful version of the most gilt-edged attraction in theater history, Jack Warner has miraculously managed to turn gold into gold.
  12. Portrait of a Lady on Fire
    This radiantly sensual film ends on the perfect note, a rush of emotional intensity that’s wrapped in a secret, as hushed as the rustle of silk.
  13. I Am Not Your Negro
    Peck captures all that’s galvanizing and forceful about Baldwin’s words and demeanor.
  14. Aftersun
    What’s wonderful about Wells’ instincts, and her sense of craftsmanship, is that she never spells anything out for us. Yet we walk away feeling that we know these people, even if we aren’t clear on all the specifics of their lives.
  15. Amour
    In the history of movies about love, Amour shall last forever.
  16. The Hurt Locker
    A near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.
    • 95 Metascore
    • 80 Critic Score
    Anatomy of a Murder
    At 160 minutes, Anatomy is longer than the subject warrants, but the pace seldom slackens—thanks to the competence of Director Otto Preminger.
  18. Pulp Fiction
    It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
    • Time
  19. Zero Dark Thirty
    The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.
  20. Collective
    One problem with social-issues documentaries is that you almost always know where they stand, and where they’re headed, from the start. But Collective is as tense and as taut as a great fictional drama.
  21. A Separation
    However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.
    • 95 Metascore
    • 100 Critic Score
    Double Indemnity
    Double Indemnity is the season's nattiest, nastiest, most satisfying melodrama.
    • 95 Metascore
    • 100 Critic Score
    Schindler's List
    Epic cinema, tragic drama, it is also an act of remembrance and conscience that ultimately transcends the ordinary critical categories.
    • Time
  24. WALL-E
    It works; this is Pixar's most enthralling entertainment since "Nemo."
    • 94 Metascore
    • 70 Critic Score
    His Girl Friday
    Roughest spots in the original versions have been sandpapered or excised, the pressroom’s whiskey cynicism toned down to half of one per cent, but the comedy still has enough Hecht-MacArthur kick to make later interpolations smell synthetic.
  26. Before Midnight
    Bravely and with penetrating intelligence, Before Midnight elevates instead the practical, a partnership: frayed by disappointment, worn by time, but for the very luckiest—which we sincerely and selfishly hope includes Jesse and Celine—durable for the long day’s journey into night.
  27. Dunkirk
    Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.
  28. 45 Years
    The devastating truth of 45 Years, so beautifully wrought, is that even the most devoted couples are made up of two people who are essentially alone.
  29. Taxi Driver
    The movie has an air of recent discovery, of shocked innocence about the tawdry quality of city life that is gratingly naive. The film goes most disastrously wrong when it tries to turn slice-of-life realism into full-scale melodrama.
  30. The Manchurian Candidate
    The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]
    • Time
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