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. Cyrus
    The scariest romantic comedy of the year.
  2. Liam
    Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
  3. Father Soldier Son
    Its easygoing structure may also be what makes it feel so intimate. Davis and Einhorn — both of whom are New York Times reporters — don’t have to spell out codes of masculinity, familial duty and love for one’s country. Instead, we’re allowed to bear witness as Eisch and his family show us what those values mean to them.
  4. Go
    Here is a picture that has wit, a hairpin-turn narrative, high pizazz and ensemble star quality. Ready, set, Go.
    • Time
  5. Into the Abyss
    It provides intimate glimpses of people usually seen, and then only briefly, as faces on a post-office wall or numbers in a cemetery.
  6. Interstellar
    With Interstellar, Nolan’s reach occasionally exceeds his grasp. That’s fine: These days, few other filmmakers dare reach so high to stretch our minds so wide.
    • 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.
  8. The Heart of the Game
    Ward Serrill's feel-good doc, which covers seven years in the life of Resler's Roughriders, is hobbled by a narration so syrupy, it could be poured on pancakes. But the movie soars because of the sport's natural drama and its luck in finding a complex heroine.
  9. The Hurricane
    In Washington's finely shaded performance he's a low-pressure system, illuminated by distant flashes of lightning.
    • Time
  10. Billy Elliot
    The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
    • 74 Metascore
    • 70 Critic Score
    The Muppet Movie
    Muppet magic remains a bewildering succession of wonderful bits.
    • 74 Metascore
    • 50 Critic Score
    The Adventures of Ichabod and Mr. Toad
    An uneven doubleheader by Walt Disney, who has combined into one film two dissimilar literary classics: Washington Irving's Legend of Sleepy Hollow, and Kenneth Grahame's The Wind in the Willows. The contrast in the handling of the two unrelated stories neatly illustrates some of Disney's outstanding vices & virtues.
  13. Kung Fu Panda
    The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.
  14. Crazy Rich Asians
    The two leads, Wu and Golding, are charming and genuine, and the supporting performers around them keep the whole mad story spinning—this thing is never boring.
  15. Touch
    This is a movie of gentle but resonant pleasures; it slows the world down, a little, for the span of time you’re watching it. And couldn’t we all use a little of that these days?
  16. Hercules
    Sixty years after Snow White, Hercules proves that Walt's art form is still sassy and snazzy.
  17. A Mighty Heart
    This movie does not fully separate itself from our admittedly low -- even slightly shameful -- expectations, does not become the pure documentary it might perhaps better have been.
  18. Invictus
    Damon, beefed up for the occasion, makes Pienaar a stalwart yet courtly figure. Freeman infuses Mandela's speeches with the same gentleness and gravity he's brought to his numerous God roles and the Visa Olympics commercials. But the real deity here is Eastwood, still chugging away handsomely in his 80th year.
  19. Edward Scissorhands
    A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]
    • Time
  20. Highest 2 Lowest
    It’s smart, hugely entertaining, and profound in a way that’s anything but sentimental.
  21. Sin City
    Sin City is brazenly, thrillingly alive.
  22. She Said
    As reporters, they’re tireless. As moms, they’re tired. That’s what gives She Said its believable texture. That and the fact that, regardless of this story’s ultimately explosive impact, She Said is simply a story of journalists at work.
  23. Shower
    Take this Shower and feel refreshed; it's a cool dip on a hot day.
    • 74 Metascore
    • 80 Critic Score
    Metallica: Some Kind of Monster
    What's most captivating about Monster is that the camera never looks away and Metallica never hides.
  25. Source Code
    It is a tremendous downer when the second half of the movie shirks logic, defies its own established principles and raises more questions than it answers.
    • 74 Metascore
    • 80 Critic Score
    Oklahoma!
    In spite of its age and the fact that its 145-minute mass is sometimes dragging, Oklahoma! hollers itself home as a handsome piece of entertainment.
  27. Thor: Ragnarok
    Directed by the enormously talented New Zealand filmmaker Taika Waititi, it’s well intentioned but ultimately numbing, an instance of fun overkill whose ultimate goal seems to be to put us into a special-effects coma.
  28. Teacher's Pet
    Has a whirligig wit, and 11 songs crammed into its 67 minutes: that's more melodic content than in most Broadway musicals.
  29. Bird
    This is what Arnold is so great at capturing: people just doing their best, which often means they surpass every expectation without even knowing it. Her generosity toward her characters is also generosity toward us. She hands us nothing, even as she gives us everything.
    • 74 Metascore
    • 40 Critic Score
    The Haunting
    In this movie version, directed by Robert Wise, the specter is slightly censored—what's left is just the usual commercial spirit. Whenever it appears, the violins on the sound track start to didder, doors open and shut by themselves, people stare about in terror and squeak: The house, it's alive! The picture, it's dead.
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