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. Horizon: An American Saga - Chapter 1
    Horizon—while being at least somewhat culturally sensitive, handsome to look at, and reasonably engaging—still comes off as curiously undistinguished. It’s so tasteful, so careful, so eager not to upset or offend, that it reflects little sense of risk.
  2. Kinds of Kindness
    Kinds of Kindness is too parched and mannered to be either disturbing or funny or both—and not even its capable cast can rescue it.
  3. 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.
  4. Megalopolis
    I found myself almost literally leaning closer to the screen during Megalopolis, trying to grasp exactly what Coppola is seeking to communicate. I might have caught about a third of it, at best, but I’ll take a messy, imaginative sprawl over a waxen, tasteful enterprise any day.
  5. Furiosa: A Mad Max Saga
    Furiosa, rife with explosions, savage masculinity, and lots and lots of driving, is all spectacle and no vision. Its heroine deserves better.
  6. Challengers
    Working from a script by Justin Kuritzkes, Guadagnino takes pleasure in teasing us, toying with us, getting us all turned around. This is his most buoyant movie.
  7. Sasquatch Sunset
    The real problem with Sasquatch Sunset is that it’s distancing, in an art-project way. The movie is just too coy, too overt in the way it signals when we’re supposed to be appalled and when we’re supposed to be moved; it advertises its weirdness even as it strives to convince us how much these Sasquatch are like you and me.
  8. Civil War
    Shot by Garland’s regular cinematographer Rob Hardy, Civil War has the vibe of your standard desolate zombie movie with a modern American backdrop, but it's far less effective than your average George A. Romero project: sometimes a B movie with a sense of humor about itself says more about a nation’s despair than an overserious, breast-beating one.
  9. Monkey Man
    Whatever Patel is going for, he's at least singing out with conviction—not just from the diaphragm but also from the muscle better known as the heart.
  10. Wicked Little Letters
    It may have been conceived as the kind of classy-but-ribald entertainment that might lure older moviegoers back to theaters. But insulting their intelligence probably isn’t the way to go.
  11. La Chimera
    Alice Rohrwacher's enigmatic and bracing La Chimera, its touch as glancing as a zephyr, asks more of us while demanding less. It’s the kind of movie you wake up from, as opposed to one you merely watch.
  12. Road House
    This new Road House appears at a time when so much of our entertainment has been shrunk down to a manageable size. Even on the small screen, may its unruly spirit prevail.
  13. Immaculate
    It’s bad-gal blasphemy of the highest order.
  14. Irish Wish
    All this magical switcheroo plot nonsense is just a formality anyway: everyone who comes to Irish Wish—friend, foe or neutral observer—will have come for Lohan.
  15. Spaceman
    It’s one thing to dole out the happy pills that make an audience love you and another to earn their trust minute by minute. Sandler, it turns out, knows how to do both.
  16. Drive-Away Dolls
    It tries to be sexy but isn’t; it strives for screwball energy but only ends up being insufferably madcap; it works hard to serve up lashings of black humor, in the tradition of older Coen Brothers movies like Raising Arizona, but you can hear the wheels whirring behind every joke.
  17. The Taste of Things
    It’s simply blissfully restorative, a movie that gives you back something you didn’t realize you’d lost, one that might even make you forget what year you’re living in. Its pleasures run quiet and deep.
  18. Perfect Days
    There’s something inexplicably Wenders-like about it; he’s a filmmaker who looks for joy in the corners, and finds it.
  19. Tótem
    Tótem offers a promise of light beyond the sorrow, a concept that’s hard for children to comprehend. But then, adults need to be reminded of it too.
  20. Lift
    You can’t ask for more from a winter diversion—even if you wouldn’t wish for less.
  21. Mean Girls
    Everything that made the original picture so sly, funny, and affecting is gone. Musical numbers spell out the obvious, and loudly.
  22. The Color Purple
    The movie is lively and fun, without betraying the heavy undertones of some of its subject matter. It’s a reclamation, but a buoyant rather than somber one.
  23. American Fiction
    American Fiction isn’t nearly as cutting, or as ultimately moving, as its source material—but that doesn’t make it dismissible.
  24. Wonka
    The charm offensive that is Wonka toils way too hard for its meager pleasures. It may leave you feeling more worked over than invigorated.
  25. Napoleon
    It’s sometimes boring and pretentious and often a little silly, almost to the point—almost—of parody. But even with all its flaws tallied and noted like battlefield casualties, there’s still something mildly compelling about it.
  26. Fallen Leaves
    Sometimes a movie reaches the unreachable in us, not because it’s a grand masterpiece but because it’s as quiet and intimate as air.
  27. Saltburn
    Saltburn begins with a mildly intriguing premise. But Fennell can’t seem to distinguish dark, transgressive pleasures from outright unpleasantness, and the whole enterprise ends with an acrid aftertaste.
  28. The Hunger Games: The Ballad of Songbirds and Snakes
    The Hunger Games: The Ballad of Songbirds & Snakes, directed by Francis Lawrence, strives to offer spectacle, drama, and excitement. But it’s really just a tired rehash, albeit an extravagant one, this time with less appealing characters. As dystopias go, it’s a real bummer.
  29. What Happens Later
    What Happens Later, directed by Meg Ryan, works so hard at trying to give us something fresh and novel that I couldn’t help wishing it were better: the cloud of dissatisfaction I felt after watching it kept trying to reshape its molecules into a better movie, albeit one that could live only in my head.
  30. The Holdovers
    Like most of Payne’s movies (Sideways, The Descendants, Nebraska), The Holdovers is merely coated with a thin veneer of misanthropy that Payne methodically buffs off to reveal actual human feelings. It's the mechanism that works for him, but that doesn’t make it a good one.
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