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. Ford v Ferrari
    Ford v Ferrari is a little too long; some scenes leave unnecessary skidmark trails. But the movie still has amiable style and energy to spare. It’s fast but never furious.
  2. Silver Linings Playbook
    The performances of these actors are reason enough to go. The reason to stay is Lawrence.
  3. Waiting for 'Superman'
    This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.
  4. 28 Years Later: The Bone Temple
    The Bone Temple is part satisfying triumph, part missed opportunity, and its pluses and minuses bump against one another in jangly discord.
    • 80 Metascore
    • 90 Critic Score
    The Last Temptation of Christ
    In an age of post-Christian facetiousness, Martin Scorsese's work daringly attempts to restore passion and melodrama to the Gospel story. Protests notwithstanding, the film is an affirmation of faith in the power of both the Gospel and the movies.
  6. Wake Up Dead Man: A Knives Out Mystery
    As with the previous two Knives Out installments, the conclusion is almost beside the point. It’s the getting there that matters, and the twisty road of Wake Up Dead Man is dotted with offhanded jokes and one-liners that are occasionally extremely witty.
  7. Young Mothers
    The Dardennes’ movies have a gentle uniformity, which is why they often slip through the cracks among flashier pictures vying for our attention. But Young Mothers is among the best of their films, so empathetically understated that its full power may not hit you until hours after you’ve watched it.
  8. The Testament of Ann Lee
    The Testament of Ann Lee is unimaginable with any other actress—but then again, it’s unimaginable, period, a movie that takes big chances in a culture that, most days, seems allergic to them.
  9. The Sparks Brothers
    If you’ve only sort-of heard of Sparks, The Sparks Brothers is a great place to begin. If you’re already a fan, you’ll go nuts for it. And if you’re like me, you’ll never lose track of Sparks again.
  10. The Wrestler
    Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
  11. The Hours
    A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  12. Bang the Drum Slowly
    A funny, gentle and honestly sentimental movie that is easily one of the best of the year in any category, and very possibly the best movie about sport ever made in this country.
  13. Marcel the Shell with Shoes On
    There’s nothing jarring or upsetting about Marcel the Shell With Shoes On; it deals very gently with the realities of death and loss. But its quiet tenderness feels expansive regardless, proof that good things really do come in small exoskeletons.
    • 80 Metascore
    • 90 Critic Score
    The Secret World of Arrietty
    Arrietty brings the same magic to the mundane, elevating the ordinary confines of everyday life into sumptuous surprises. And while Arrietty lacks the sweep of "Spirited Away," "Princess Mononoke," or "Nausicaä of the Valley of the Wind," it preserves all the trademark sensitivity to the emotional turmoil of adolescence.
  15. The Mastermind
    The Mastermind is a sneaky, undulating movie; it’s perhaps even less direct than Reichardt’s usual brand of sly, behind-the-beat filmmaking. But O’Connor’s slippery charms hold the picture steady.
  16. Perfect Days
    There’s something inexplicably Wenders-like about it; he’s a filmmaker who looks for joy in the corners, and finds it.
  17. Central Station
    [Salles]'s imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting.
  18. Passages
    This is a smart, lustrous film, and a bracingly honest one, the kind of movie that leaves you feeling both invigorated and a little blue.
  19. The Queen of Versailles
    The steady wink wink of Queen of Versailles is wearing. I'd say Greenfield is exploiting a narcissist's willingness to talk endlessly about herself, but I think it just as likely that Jackie is exploiting Greenfield's willingness to listen. And to keep that wonderful mechanical eye focused on her.
  20. The Color of Paradise
    This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
    • Time
  21. A Fish Called Wanda
    Think of A Fish Called Wanda as the next best thing to a Looney Tunes-Merrie Melodies summerfest…Wanda defies gravity, in both senses of the word, and redefines a great comic tradition. [July 18, 1988]
    • Time
  22. Incredibles 2
    If Incredibles 2 harbors a current of seriousness, what really makes it work is that it is so purely delightful.
  23. Casino Royale
    This is a Bond with great body but no soul.
  24. Big Night
    A movie that is both as real as food on the table and as hauntingly evanescent as its taste on one's tongue.
  25. Cinema Paradiso
    Remain open to fantasies but not be consumed by them. These are good lessons for a would-be director. They are good lessons for everybody. And no recent movie has taught them with more patient sweetness. [Feb. 5, 1990]
    • Time
  26. Saraband
    Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.
  27. Ad Astra
    Even if Ad Astra doesn’t have the mystical power of Gray’s last film, the magisterial "Lost City of Z" (based on David Grann’s book of the same name), it has enough magnetic pull to keep us close.
  28. In the Company of Men
    Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
  29. A Bronx Tale
    The central conflict, the struggle for Calogero's soul, is stated with a fable's starkness. But the tone of the film is musing, reflective, gently insinuating.
  30. Bugsy
    Bening gives a remarkable performance, proposing the intriguing possibility that a kept woman can also be a liberated woman. In any case, she shares her fears and vulnerability only in a few private moments with the camera, never with the besotted Bugsy. But good as she and everyone else in Bugsy is (mention must be made of Harvey Keitel, Elliott Gould and Ben Kingsley as assorted thugs and mugs), the picture belongs, in every sense of the word, to Beatty.
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