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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    • 94 Metascore
    • 100 Critic Score
    The Apartment
    Director Wilder handles his players superbly. He holds an amazingly tight rein on Actress MacLaine, which gives her performance a solidity she seldom achieves. Yet it is Actor Lemmon, surely the most sensitive and tasteful young comedian now at work in Hollywood, who really cuts the mustard and carries the show.
  2. 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
    • 97 Metascore
    • 100 Critic Score
    Gone with the Wind
    Whatever it was not, Gone With the Wind was a first-rate piece of Americana, and Americans in the mass knew what they wanted before the critics had got through telling them they should not want it.
  4. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
  5. Inception
    Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
  6. Amores Perros
    As fine--hard, soft, approachable--as any in movie history.
    • Time
  7. The Memory of a Killer
    Without question, the best crime movie of the year--and one of the best movies of any sort now playing.
  8. Boyz n the Hood
    Remarkable. [22 July 1991]
    • Time
  9. Things to Come
    Huppert is extraordinary — she reveals everything even when you think she’s showing nothing — and she’s the perfect actress, right now, for Hansen-Løve’s fine-grained perceptiveness.
  10. Cold War
    It deftly walks the line between appropriately somber and great, sophisticated fun.
  11. Priscilla
    Have you ever had an intense experience—fallen madly in love, say—only to look back years later and feel it had happened to a different person, a person who had walked through a dream, and survived it, to get to the self you were destined to become? That’s the feeling Sofia Coppola captures in her quietly extraordinary Priscilla.
  12. Her
    Jonze creates the splendid anachronism of a movie romance that is laugh-and-cry and warm all over, totally sweet and utterly serious.
  13. Dunkirk
    Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.
  14. The Player
    Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]
    • Time
  15. The Bourne Ultimatum
    The movie is one continuous, exhausting, exhilarating chase.
  16. 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.
  17. Get Out
    Peele succeeds where sometimes even more experienced filmmakers fail: He’s made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you’re laughing even as you’re thinking, and vice-versa.
  18. Kill Bill: Vol. 1
    By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.
  19. Flirting with Disaster
    Upon all these folks, writer-director David O. Russell turns a bland, almost anthropological eye. Nothing surprises him and nothing outrages him, except for bed-and-breakfast lodgings, about which, at last, his movie tells the terrible truth. [1 April 1996, p. 72]
    • Time
  20. Reversal of Fortune
    A marvelously sad and funny docucomedy. [22 Oct 1990]
    • Time
    • 68 Metascore
    • 100 Critic Score
    Hair
    Hair succeeds at all levels—as lowdown fun, as affecting drama, as exhilarating spectacle and as provocative social observation.
  22. Spirited Away
    Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
  23. Everybody Wants Some!!
    Everybody Wants Some!! is a seemingly straightforward picture that’s surprisingly stealthy in capturing the joy and exaltation of being an almost-adult but still feeling young, of messing around and messing up, of waiting and hoping for the chance to meet a guy or girl you really like.
  24. Bull Durham
    Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
    • Time
  25. The Zone of Interest
    The Zone of Interest is possibly the least overtly traumatic film about the Holocaust ever made, yet it’s devastating in the quietest way.
  26. Anora
    There are few filmmakers as open-hearted, as stone-soup inventive, as Baker is. In movies like Tangerine and The Florida Project, he’s always shown a knack for doing a lot with a little. But with Anora, so playful yet so emotionally fine-grained, he maybe does the most. It's his best movie yet.
  27. The Bride of Frankenstein
    It is a perfect little masterpiece of high camp, not untouched by pity, terror and the desire to satirize boy-girl romances.
    • 74 Metascore
    • 100 Critic Score
    The Magnificent Seven
    An expert, sensitive study of the fateful tie that inevitably binds the strong to the weak, this film may well be the best western of 1960.
  29. Thirst
    Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
  30. sex, lies, and videotape
    What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
    • Time
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