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. 50/50
    All these roles could have been found at a garage sale of comedy stereotypes. To the extent that 50/50 works, it is because of Gordon-Levitt, one of my favorite actors.
  2. Super 8
    The year's most thrilling, FEELING mainstream movie.
  3. War Horse
    In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.
    • 72 Metascore
    • 90 Critic Score
    Heaven Can Wait
    From beginning to end, for kids and adults, Heaven Can Wait is nonstop —and blissfully uncomplicated—pleasure.
  5. Easy A
    I finally surrendered to the script's breezy intelligence and the movie's relatively mature sensibility. As for Emma Stone, she didn't have to win me over. She conquered me from the first A.
  6. El Camino: A Breaking Bad Movie
    It’s a true movie, with the taut pacing, satisfying conclusion and grand visual scale that distinction implies.
  7. Bridget Jones: Mad About the Boy
    There’s something safe and cozy about Mad About the Boy that made me long for the unruliness of the first film.
    • 72 Metascore
    • 60 Critic Score
    The Killers
    Perhaps the sole justification for turning a fine old movie into a just passable new one can be summed up as Angie Dickinson.
  9. Down and Out in Beverly Hills
    On the basically farcical level where it chooses to stay, it is a funny and likable movie
  10. Heathers
    If Michael Lehmann's direction were a bit more astute, the movie could be the classic genre mutation it aims to be: Andy Hardy meets "Badlands." [17 April 1989]
    • Time
  11. Candyman
    Candyman is a work held together by thoughtful choices, and it has a lot to say. Genre conventions are themselves like urban legends, a framework that each new generation adds to and builds upon. Candyman is just one reason we continue to believe in them.
  12. First Position
    First-time director Kargman triumphs by picking characters who largely defy expectations.
  13. I Served the King of England
    May not be a totally riveting movie, but it is, in its gently insinuating way, a curiously rewarding one.
  14. Gangs of New York
    This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
  15. Felicia's Journey
    A movie this implausible shouldn't be this dull.
  16. A Beautiful Mind
    The result is mainstream moviemaking at its highest, most satisfying level.
    • Time
  17. Your Sister's Sister
    There is a looseness to the dialogue that suits the mood of the story-each character gets his or her own bombshell (or two) to digest and has to figure out how to cope with it.
  18. Midsommar
    Aster is obsessed with building tension to the point of losing the plot. He can’t stop at merely glancing or suggesting.
    • 72 Metascore
    • 70 Critic Score
    Imitation of Life
    Because of the authority with which it is acted and the skill with which Director John Stahl has built up individual episodes, the picture remains an efficient tearjerker, outspoken in its praise of motherlove.
  20. Groundhog Day
    [Murray] has the natural actor's charm of making manners matter. He carries Groundhog Day with his uniquely frittery nonchalance and makes the movie a comic time warp anyone should be happy to get stuck in. [15 Feb 1993, p.63]
    • Time
  21. The Woodsman
    It is among the best and most delicately managed films of the year.
  22. Die My Love
    What Lawrence does in Die, My Love is so delicately textured, even within its bold expressiveness, and its fiery anger, that it leaves you scrambling for adjectives. It’s the kind of performance you go to the movies for, one that connects so sympathetically with the bare idea of human suffering that it scares you a little.
  23. Is This Thing On?
    It’s the kind of story that was made for the intimacy of the movie theater, and for the possibly lost tradition known as movie-date night. As ambitions go, that’s a pretty noble one.
  24. Shame
    In a movie era remarkable for its reluctance to dramatize erotic intimacy, Shame merits praise for the dark energy of its sexual encounters.
  25. 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.
  26. Bringing Out the Dead
    Like its title -- blunt, thruthful, uncompromising. It is hard on an audience, even harrowing. But that's exactly what Martin Scorsese was put on earth to do.
    • Time
  27. Mostly Martha
    Nettelbeck is a sharp observer of life's surprises, and Gedeck has an appraising, intelligent beauty. Her Martha is like the film: tart on the outside, sweet on the inside, with a delectable aftertaste.
  28. Match Point
    When they get to canoodling and conniving, you won't ask for your money back.
  29. The Invisible Man
    Moss is good at these roles, so good that she should probably take a break from them. But The Invisible Man is still an excellent vehicle for her; you can’t imagine the film without her.
  30. The Batman
    The Batman is a moderately well-made film, with some appealing performances, most notably from its star, Robert Pattinson, and from its cryptically glamorous Catwoman, Zoë Kravitz. And it looks like a movie, which used to be something you didn’t even have to say: The Batman may be dark, literally—its doomy, underlit ambience comes courtesy of cinematographer Greig Fraser—but at least it’s pleasurably cinematic, a picture that creeps to the edges of the big screen with an operatic flourish.
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