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. The Innkeepers
    I wanted very much for West's new movie to evoke films like "The Others" or "The Orphanage," which made me, in the moment at least, a believer in ghosts. The Innkeeper's payoff lacked that kind of oomph, and weirdly, the pairing of Luke and Claire brought movies about work relationships, like "Clerks" and "Office Space," more to mind than ghost stories.
  2. Prometheus
    My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
    • 64 Metascore
    • 40 Critic Score
    New York, New York
    If this movie were a big-band arrangement, it would be a duet for a sax man and a girl singer, but with the soloists in a different key from the band.
  4. Always Be My Maybe
    Some of the writing is sparkling. Joke for joke, there’s probably just enough to keep you laughing. But if Always Be My Maybe isn’t terrible, it’s still lackluster enough to make you feel that underserved and underrepresented audiences deserve more.
    • 64 Metascore
    • 60 Critic Score
    The Pursuit of Happyness
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
  6. Bombshell
    Theron is a superb and versatile actor, and she’s good here — it’s not that she always needs to play nice characters. But as Megyn Kelly, she’s like a Hitchcock blonde with all the allure drained from her.
  7. Suspiria
    This new Suspiria is bland, grisly, boring and silly. There is nothing poetic or erotic about it.
  8. Enigma
    Enigma is not for everyone, but the thoughtful (and the historically minded) will find it an absorbing and extremely well-textured experience.
    • Time
  9. The Sixth Sense
    Unfolds with a patient intelligence. The Sixth Sense might not scare you out of your wits, but it could reward them.
  10. XX
    A mini-showcase of smart, thoughtful contemporary horror.
  11. Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
    • 64 Metascore
    • 90 Critic Score
    Saboteur
    A melodramatic journey from coast to coast shows Hitchcock at his best. It gives movement, distance and a terrifying casualness to his painful suspense.
    • 64 Metascore
    • 50 Critic Score
    The Wanderers
    By grafting stylistic affectations onto an otherwise naturalistic movie, Kaufman blunts the raw power that, is The Wanderers' greatest asset. Like his characters, he would have fared far better if he had stopped showing off and practiced a little self-control.
  14. Elvis
    Luhrmann and his co-writers Sam Bromell and Craig Pearce use the story of Elvis’ supremely crooked manager, Colonel Tom Parker (Tom Hanks, lurking beneath prosthetic jowls), to frame the larger, more glorious and more tragic story of Elvis.
  15. American Psycho
    But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
    • Time
  16. Team America: World Police
    The real kick, however, is in the grandeur and detail of the production design, by Jim Dultz and David Rockwell.
  17. Grand Canyon
    If sometimes this loose and anecdotal film loses dramatic pace, it always rights itself. And it remains steadily in touch with its best qualities - generosity, common sense and a mature decency that is neither smug nor sentimental.
  18. 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.
  19. You Kill Me
    I don't want to oversell You Kill Me. It is not going to leave you breathless with laughter. But I don't want to undersell it either. For an hour and a half it exerts its own preposterous reality, making you believe it -- and like it.
  20. Killing Them Softly
    Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
  21. Downsizing
    The movie is a surprise, the good kind, an instance of a filmmaker zigging just when you’re expecting him to zag.
  22. Bound
    The Wachowskis have the predilection for loopy camera setups common to first-time directors, but their hearts are in the right transgressive place, and their film will tide some of us over until Quentin gets...well...unbound.
  23. The Lost King
    With his charming, sympathetic picture The Lost King, Stephen Frears digs into the fairly recent rehabilitation of the misunderstood monarch’s legacy—as well as the 2012 discovery of his long-lost bones beneath a Leicester parking lot.
  24. Brideshead Revisited
    Brideshead Revisited is untaxing, pleasant enough to watch. But I'm still waiting to be seriously discomfited by it.
  25. Cloverfield
    Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.
  26. Fury
    World War II was a historical event, but also a movie genre, and Fury occasionally prints the legend. The rest of it is plenty grim and grisly. Audience members may feel like prisoners of war forced to watch a training-torture film.
  27. Tamara Drewe
    So here's my second and final verdict on the movie: it's as captivating as its heroine.
  28. Miss Sloane
    Storytelling efficiency is one of Miss Sloane’s most effective calling cards — that, and Chastain.
  29. The Dancer Upstairs
    Patient and plodding -- but as realized by John Malkovich, in his directorial debut, utterly absorbing.
  30. The Road to Guantanamo
    The Road to Guantánamo is his (Winterbottom’s) most unsparing statement yet of war's brutalizing effect on both the prisoner and his jailer.
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