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. Storytelling
    Does Solondz feel remorse for libeling his own kind? He might need to if his portraits didn't have the gift of dark wit, the ring of social truth. One makes allowances for a master storyteller.
    • Time
  2. The Mothman Prophecies
    Director Pellington's touch is light and flickering, and his actors are solid and persuasive. If you let yourself go with The Mothman Prophecies, it is -- in its lumpen, serious way -- sort of fun.
    • Time
  3. Italian for Beginners
    The sober wit of this comedy arises not from conventional artifice -- snappy dialogue, wacky situations -- but from a realistically drawn ensemble interacting truthfully with one another.
    • Time
  4. Black Hawk Down
    It takes its place on the very short list of the unforgettable movies about war and its ineradicable and immeasurable costs.
    • Time
  5. I Am Sam
    As the director of this noble weepie, Nelson so overuses visual tricks -- zooms, zip pans and multiple perspectives on a simple scene -- that she turns the viewer into an exasperated parent; this is a directorial style in need of a spanking.
    • Time
  6. Dark Blue World
    One thinks of the great opening line of that great novel The Good Soldier: "This is the saddest story I have ever heard." Like many such tales, this one is worth taking to your aching heart.
    • Time
  7. Monster's Ball
    The cast is uniformly superb, and Marc Forster's attentive direction gives proper weight to each perplexing emotion. Strip away the strident melodrama, and you have this season's moodiest, most adult love story.
    • Time
  8. Gosford Park
    Tedium overwhelms caring well before this endless film finally concludes.
    • Time
  9. Ali
    A thoughtful epic is both a rarity and an oxymoron. But that's what Ali is, and you can't help being drawn sympathetically into its hero's struggle for mastery of himself and his era.
    • Time
  10. Kate & Leopold
    Given that this holiday film season has come up more than a little short on love and laughter, one can easily forgive Kate & Leopold the slightly excessive lengths and complications to which it goes in search of those rare commodities.
    • Time
  11. A Beautiful Mind
    The result is mainstream moviemaking at its highest, most satisfying level.
    • Time
  12. The Majestic
    The story has to carry way too much weight, as war remorse battles McCarthyism. The Majestic's makers don't get what made Capra movies invigorating.
    • Time
  13. The Lord of the Rings: The Fellowship of the Ring
    Though faithful in every detail to Tolkien, it has a vigorous life of its own -- grandeur, moral heft and emotional depth.
    • Time
  14. Lantana
    Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.
    • Time
  15. The Royal Tenenbaums
    For Hackman embodies the energy and outrage the rest of this rather twee family lacks. Royal stirs them all to life, and this great, bumptious performance by an actor gleefully rediscovering his funny bone stirs us to appreciative life too.
    • Time
  16. Vanilla Sky
    Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
  17. Behind the Sun
    This movie is more emotionally remote than Salles' fine "Central Station." But it is starkly beautiful and says something potent to a world in which nations, like these families, engage in mindless blood feuds.
  18. Last Orders
    Wry humor and even a certain sexiness break through the reserve of a rueful, realistic, but finally emotionally rewarding film.
    • Time
  19. No Man's Land
    All the actors in No Man's Land are wonderfully alive, fractious and unpredictable. Their performances also help break down the schematics and turn this into an emotionally potent, powerfully thoughtful and finally tragic experience.
    • Time
  20. Ocean's Eleven
    Doesn't offer much.
  21. The Affair of the Necklace
    You may not be able to follow the overall arc of their scheming, but scene by scene they are a delightful crew, hissing away behind their cloaks and fans.
    • Time
  22. Behind Enemy Lines
    The journey is never boring, and it's morally satisfying too. O.K., the movie is what Hollywood likes to call "a ride." But it's one worth taking.
    • Time
  23. Harry Potter and the Sorcerer's Stone
    The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
  24. Shallow Hal
    We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
  25. Heist
    The result is a well-tooled machine chugging coldly along a twisting road to nowhere.
  26. Monsters, Inc.
    "Shrek," this film's prime competition for the first Animated Feature Oscar, is a synoptic parody of fairy tales. In Monsters, Inc. the gags aren't as spot-on but the technique is miles ahead. The vision is grander and warmer.
    • Time
  27. Amélie
    You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
  28. The Man Who Wasn't There
    If this were not such great American-vernacular moviemaking -- hilarious yet hypnotic -- one would be tempted to see something Greek in the tragedy that Ed never comprehends.
  29. Life as a House
    Will the movie end in an orgy of sentiment? Why do we bother to ask?
  30. The Last Castle
    Redford underacts, Gandolfini overacts, and this movie is directed with the same air of unreality, the same grim passion for cliches, both cinematic and emotional, that Lurie brought to his first film, "The Contender."
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