Time's Scores

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:
2973 movie reviews
  1. The triumph of Matilda, both as Dahl wrote it and as it’s interpreted here, is that one little girl finally finds her place among people who understand her. This is a story about the family you choose, versus the one you were born into. And for some people, the chosen family is the one that makes all the difference.
  2. At times Dead Ringers also tilts out of coherence, with scenes that are dramatically stillborn. But Irons is splendid in both roles, and Cronenberg can create tour-de-force tableaux with his effortless black magic. [26 Sept 1988]
    • Time
  3. Simone is a funny, smart, improbably successful satire on contemporary celebrity obsessions, the waning summer's most delirious comedy.
  4. The film is high romance, rather like those American movies of the 1940s -- people snatching at happiness in a world aflame. We don't make them anymore -- stupid us --but we ought to be glad someone does.
  5. It’s sweet and funny, but also, in places, as raw as a scraped knee.
  6. Somehow, it works, thanks largely to Farrell.
  7. The overall metaphor Weir was aiming for - this idea of enemies so powerful and a war so menacing and confusingly big that no place seems safe except a place absurdly far away - comes through clearly and stays with you.
  8. When you look at the faces of the elderly Donahue and Henschel, even at their most frail, the young women within shine through. It’s enraging that society made them feel they had to hide. But their happiness is the ultimate triumph.
    • 83 Metascore
    • 80 Critic Score
    Here is a comedy that valiantly defies both gravity and the latest Hollywood fashion.
    • 86 Metascore
    • 80 Critic Score
    The film is an achievement in civilized comedy; even in its grave and noble moments it preserves a graceful, tender gaiety.
    • 74 Metascore
    • 80 Critic Score
    It is in the transcendent strength of Joanne Woodward that the film achieves a classic stature. There is no gesture too minor for her to master.
  9. As both harangue and movie tragicomedy, Sicko is socko.
  10. Enjoy the savory witches' brew that Cuaron has cooked up in his Harry pot. For on its own terms, this one is truly wizard.
  11. The movie's biggest surprise is the revelation of Gosling as cunning comedian.
  12. Take a while to get their vehicle to sail and soar. But when it does, this Planet is a treasure.
  13. A romantic comedy so smart and sweetly mature, it's liberating.
  14. Mission: Impossible—Fallout may be the best Mission: Impossible movie since the first, made in the dawn of the cat-Internet age, 1996, by Brian De Palma. Or perhaps it’s just the one with the mostest: even by the franchise’s extravagant standards, Fallout throws off Hope-diamond levels of grandeur.
  15. Body Heat is full of meaty characters and pungent performances...a film to be seen at a drive-in, on a heavy summer night, with someone you trust.
  16. The Hand of God is a lovely film, occasionally oddball in the best way, and astute in the way it handles tragedy and loss.
  17. The real fun is in seeing Hong Kong pop cinema at its innocent, crowd-pleasing best. And for Jackie, that goes double.
  18. Solondz observes all this activity from an objectifying distance, very much the anthropologist trekking through the heart of darkness
    • 52 Metascore
    • 80 Critic Score
    Director George Roy Hill (Butch Cassidy, The Sting) and Screenwriter Allan Burns (cocreator of TV's original Mary Tyler Moore Show) have constructed a romantic comedy that, for all its contrivances, offers an indecent amount of emotional and comic satisfaction.
  19. The performances in Battle of the Sexes, agile and perceptive, keep the game alive every minute.
  20. After “The Matrix Reloaded” and “The Hulk,” there's something refreshing about this movie's complete lack of intellectual pretense.
  21. I finished Larsson's novel with the uncomfortable sense it used a good mystery as an excuse to dwell on sadism and perversity -- an aspect only exacerbated on screen.
  22. The movie has two other qualities you don't always find in films of this kind: a sense of humor and a sense of character. [15 August 1994, p. 61]
    • Time
  23. This may seem too inside-cricket for a U.S. audience. And it's true that Cock and Bull is so postpostmodern, it's very nearly postmovie. But it's no less diverting for all that. It would be a shame if the great novel no one has read becomes the terrific film nobody bothers to see.
  24. Collias captures something gossamer here, a quiet shift into adult womanhood that happens, literally, overnight.
  25. The Brutalist is a kind of crazy space church, designed specifically for the communal moviegoing experience. It's a place to gather and give thanks.
  26. The colors of The Room Next Door are its secret message, a language of pleasure and beauty that reminds us how great it is to be alive. If it’s possible to make a joyful movie about death, Almodóvar has just done it.

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