Time's Scores

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For 2,974 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: 1,807 out of 2974
  2. Mixed: 937 out of 2974
  3. Negative: 230 out of 2974
2974 movie reviews
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  1. If I Had Legs I'd Kick You
    If I Had Legs I’d Kick You is hardly full-on punishment, and in places it’s bitterly funny. But in the end, it’s an enormous relief to walk away from Linda’s problems. Our own don’t seem so bad in comparison.
  2. Coming 2 America
    There’s plenty of spectacle in Coming 2 America, and a few laughs. But its chief value may lie in reminding us how good its 1988 predecessor really is.
  3. Jeremiah Tower: The Last Magnificent
    The best sequences are those incorporating vintage footage from the 1970s-era Chez Panisse, where Tower, as a young, rakish beauty — quite clearly gay, but also pansexual in the dashing way people were allowed to be in those days — was the crown prince of the kitchen.
    • 49 Metascore
    • 60 Critic Score
    Where the Red Fern Grows
    Where the Red Fern Grows is quite possibly the saddest, most purposefully depressing movie (and book) we’ve ever experienced.
  5. On the Basis of Sex
    This well-intentioned movie is a somewhat flawed one: its pace is a little slack, and sometimes it feels too predictably prepackaged. But Jones and Hammer keep the picture moving even through its shakier phases.
    • 88 Metascore
    • 60 Critic Score
    Funny Girl
    This extended Streisand Special has done absolutely nothing to correct the flaws in the Broadway original.
  7. Stoker
    The movie is less to be experienced than to be appreciatively studied, like an insect, a stuffed bird, or the sketch by a gifted artist in the style of an Old Master — in this case, the Master of Suspense. It’s not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark.
  8. 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.
  9. Champions
    With Champions, director Bobby Farrelly returns us to the late 1990s, a time when there were fewer sorely needed guidelines, but also fewer gatekeepers just waiting to catch well-meaning people who happen to trip up.
  10. Keeping Up with the Joneses
    Still, at its best Keeping Up with the Joneses riffs on something very real: the existential loneliness of living in a place that’s just too perfect. Everyone needs new friends now and then – even ones who make you eat snake.
    • 55 Metascore
    • 60 Critic Score
    Rio Lobo
    There are a few good scenes—an intricately executed train wreck, for example—but the movie is notably slack where it should be zestful.
  12. Lean on Pete
    Haigh, perhaps driven by some misguided sense of narrative purity, refuses to loosen the screws, and it’s almost too much to bear. If you make it through Lean on Pete, you’ll feel weariness in your bones afterward. The ache may not be worth it.
  13. 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.
  14. Enemy at the Gates
    Law, sexy and crafty as ever, and here with a flinty innocence, proves again he has the star-quality goods.
    • Time
    • 69 Metascore
    • 60 Critic Score
    Melody Time
    The straight technical expertism is still one of the wonders of the movie world.
  16. 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.
  17. Stillwater
    The story becomes unpleasantly bitter and asks us to buy certain behaviors that don’t make much sense, and that we’re not quite sure a character would be capable of. Yet even after the movie makes that sharp zigzag, its one constant is Damon, who’s turning out to be one of those great, casual American actors we didn’t know we had anymore.
  18. Fame
    The film is full of attractive young performers. And there is a low-keyed conflict between them and a faculty that is trying to discipline their exuberance without stifling their spirits. If the film had concentrated on that instead of on hokey melodrama, it might have been far more engaging and truer to life.
  19. The Unbearable Weight of Massive Talent
    Unfortunately, The Unbearable Weight of Massive Talent, a meta-comedy of ostensibly epic proportions, is not nearly grand enough to embrace those multitudes.
  20. Rough Night
    Really, as "Hangover"-style dumb entertainments go, it’s certainly good enough. Which isn’t to say it’s anything close to what what women want.
  21. Harry Brown
    Tawdry but compelling.
  22. The Year of Living Dangerously
    The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
  23. People Like Us
    The glossily photographed family drama People Like Us is not without appeal, but it has a major construction flaw. It's dramatic arc is predicated on the problem of accidental incestuous attraction. Egads.
  24. Eddington
    If this wigged-out modern Western doesn’t quite work, it’s at the very least a cry of vexation over what our country, messy at the best of times, has become, thanks to a virus that found its way not just into our lungs, but into our very lifeblood. Dr. Aster has listened in on America’s heartbeat; the diagnosis is that we’re basically a mess.
  25. The Miseducation of Cameron Post
    The Miseducation of Cameron Post may not hit as hard as it should. But it at least suggests that the only real losers in life are those who presume to read God’s mind.
  26. The Good Girl
    What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
  27. Zack and Miri Make a Porno
    Romantic comedies often make do on flimsy premises, but this one is thinner than Kate Moss and nuttier than an Almond Joy.
  28. Capone
    Capone is an odd little film, at times weirdly engaging but often so bizarrely muddled that you might identify a little too closely with its perpetually unglued protagonist. But Hardy is always worth watching.
  29. 300: Rise of an Empire
    For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
  30. Melinda and Melinda
    Allen has assembled an attractive cast and given most of them clichés to inhabit. He has also stinted on inventiveness.
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