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 Island
    For all the menace of its techno-prattle, its implicit boosts for humanism and its swell production design, the picture is finally a bore. Sci-fi was more powerful when its special effects were cheap and crude, its ideas simple but potently stated.
  2. 9 Songs
    Neither lurid nor especially compelling. This is the triumph, and the limitation, of 9 Songs: it makes explicit movie sex ordinary--as ordinary as the sexual activities of most of the folks watching it.
  3. Charlie and the Chocolate Factory
    This is rather a thin tale, not much thickened by Burton's direction or Depp's playing. There's a distance, a detachment to this film. It lacks passion.
  4. Wedding Crashers
    It parades a screen chemistry rarely seen since the original Butch and Sundance.
  5. Saraband
    Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.
  6. The Beat That My Heart Skipped
    Out of a borrowed and preposterous premise, Audiard has fashioned a film that is more haunting--and more compellingly watchable--than it has any right to be.
  7. War of the Worlds
    The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
  8. Bewitched
    Bewitched means to be a civilized entertainment, which occasionally it is. But the gentility of this antique sitcom cannot be recaptured at this late date.
  9. March of the Penguins
    It's a gentle film about somewhat alien beings, who entertain us by creating instead of destroying.
  10. Batman Begins
    Nolan's effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck--some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.
  11. The Adventures of Sharkboy and Lavagirl 3-D
    Pretty lame. Sharkboy has an especially frantic, amateur atmosphere, with a mostly maladroit cast.
  12. Howl's Moving Castle
    The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
  13. Cinderella Man
    The film is most significantly about puzzled people trying to comprehend the cosmic reversal of fortune that was the Depression. They don't have much more than raw courage and simple virtues to rely on. Unlike most period pieces, Cinderella Man encourages us to fondly recall not songs or clothes but values we have largely mislaid.
  14. Madagascar
    Savvy family entertainment.
  15. Layer Cake
    Layer Cake is a treat--especially if your taste in desserts is devil's food.
  16. Kingdom of Heaven
    The battle skirmishes here mix sudden violence with slow-motion artistry. The attractive cast can sell an obsession or articulate a conundrum with equal fervor.
  17. The Interpreter
    There's enough narrative for three fine films. But not enough for The Interpreter. The thriller pieces feel assembled rather than organic.
  18. Kung Fu Hustle
    Moviemaking doesn't get much smarter, funnier, handsomer, better than this.
  19. Sin City
    Sin City is brazenly, thrillingly alive.
  20. The Ballad of Jack and Rose
    The film doesn't scale Shakespearean heights, but it does give its star a nicely gnarled ogre to play.
  21. Melinda and Melinda
    Allen has assembled an attractive cast and given most of them clichés to inhabit. He has also stinted on inventiveness.
  22. Robots
    Robots goes for a color scheme that is cool, muted, instantly aged. Director Chris Wedge wants the eye to concentrate on the gags he and his writers (including veteran comedy craftsmen Lowell Ganz and Babaloo Mandel) have stuffed into the film.
  23. Constantine
    Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
  24. Ong Bak
    Pummeling, exhilarating.
  25. Bride & Prejudice
    Heart and art can make a beguiling pair. Those are mostly missing in this strained hybrid, which is less Bollywood than Follywood.
  26. Assault on Precinct 13
    The differences between the two Assaults--the new one's pretty good, the old one near great--are of tone, style and perspective.
  27. In Good Company
    Leaves a quiz show's quantity of unanswered questions. But it has the optimism and determination of a corporate whistle-blower. It makes us believe, for a moment, that it's possible to end-run the spirit of Enron.
  28. The Merchant of Venice
    Pacino seems to recall, from his early Michael Corleone days, the power of whispered menace.
  29. The Woodsman
    It is among the best and most delicately managed films of the year.
  30. Hotel Rwanda
    It is a powerful portrait of a slightly befuddled man who, when inhuman demands were placed on him, found within himself an unexpected response.
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