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. False Positive
    It’s a moderately effective horror movie with a much better, creepier and more nuanced one nestled invisibly alongside, the unborn twin ghost of a movie that might have been.
  2. Magic Mike's Last Dance
    Magic Mike’s Last Dance only partially rekindles the spark of the earlier movie, or that of its rambunctious sequel, Magic Mike XXL.
  3. Solo: A Star Wars Story
    Star Wars lore is woefully lacking in sex appeal — even Han Solo is more of a guy’s guy — but Glover has an unruly, charismatic elegance. He belongs in a better movie, but at least he perks this one up.
  4. In the Line of Fire
    The real battle here is between two generations of acting styles: meticulous method vs. star quality.
  5. Casa de los babys
    This wisp of a movie turns out to be more thoughtfully affecting than many a more high-flying film.
  6. Day Shift
    Day Shift delivers everything it promises, which isn’t all that much. But Foxx goes above and beyond the call of duty, seemingly without even trying. Before you know it, his shift, and ours, is over, and the time has passed painlessly enough.
  7. On Chesil Beach
    The film ends with a syrupy coda that betrays its earlier subtlety. But Ronan and Howle are the keepers of its true spirit.
  8. Jackie
    Where’s the line between a sensitive work of imagination and an invasion of real-life grief in the service of arty filmmaking? There’s a lot of clever technique in Jackie, like its canny, razor-precise editing. But there’s also something arch and distant about the picture.
  9. The Informant!
    The Informant! may end up closer to the non-starters. Its lunacy is too deadpan, and its denouement too drawn out, to appeal to those who liked the Bourne movies, or, for that matter, the Gore. But it's worth seeing, and a salutary achievement.
    • 86 Metascore
    • 60 Critic Score
    Patton
    The movie's vision blurs the man and, incidentally, the just war around him. Fortunately, the general is enacted by George C. Scott, who can sense a character in a gross script the way a sculptor can detect a man in a block of marble.
  11. The Three Burials of Melquiades Estrada
    The film comes uncomfortably close to risible. But it also achieves moments of real power. It's worth a wary look before it attains midnight cult-movie status.
  12. The Brothers Grimsby
    Nine out of ten gags in this crude pub crawl of a comedy are indefensible. Maybe ten out of ten. Tragically, perhaps, I laughed anyway: It’s so hard to know what to laugh at anymore, and what it’s OK to laugh at.
  13. 28 Years Later: The Bone Temple
    The Bone Temple is part satisfying triumph, part missed opportunity, and its pluses and minuses bump against one another in jangly discord.
  14. Soul
    Overall, the movie is so ambitious—so intent on reminding us, every minute, that it really is a work of Big Ideas—that it ends up subverting its own charms. The Pixar masterminds often seem to think complicated is better, or at least just deeper. But to paraphrase Thelonious Monk, they’ve been making the wrong mistakes.
  15. Apocalypto
    Gibson is a primitive all right, but so were Cecil B. DeMille and D.W. Griffith, and somehow we survived their idiocies.
  16. Ragtime
    Forman and Weller have created an impressive but strangely lopsided movie.
  17. The Tender Bar
    The Tender Bar is generally a sweet, affectionate film, it deflates whenever J.R. isn’t in Manhasset—because that means there’s no Ben Affleck.
  18. Thunder Force
    Thunder Force drags until roughly its last third, and then something remarkable happens: its gonzo spirit kicks in. From that point on, Thunder Force feels crazily, joltingly alive, as if it were realizing, a little too late, that it ought to have been a different movie altogether.
  19. Free Guy
    Free Guy is a little like Ready Player One jumbled with The Truman Show, with some Sleeping Beauty and The Velveteen Rabbit mixed in. It is, admittedly, a lot of movie, probably too much. But Reynolds makes the most of Guy’s elation at finally busting out.
  20. Bardo, False Chronicle of a Handful of Truths
    The picture still meanders and drags, and sometimes Iñárritu’s lofty ideas come off like a hot-air balloon that deflates and gets stuck in the trees. You wish he could just move on with things already. And yet there are some magnificent visions in Bardo.
  21. Ride with the Devil
    For all the carnage, Lee's tone is contemplative.
  22. Paris, je t'aime
    Even when one of the pieces stutters, stammers or just lies deathly still, we are consoled by our knowledge that it will not trifle with us for very long. And by the fact that there is an excellent likelihood that it will soon be replaced by something more engaging.
  23. Network
    There is a lunatic energy about it. Every once in a while, Chayefsky abandons the struggle to dramatize his ideas and has somebody, usually Holden, just turn to the camera and spout off. In those moments, his concern — and sometimes his mother wit — comes blazing through and the picture takes on a life not found in safe, sane, well-calculated movies.
    • 77 Metascore
    • 60 Critic Score
    Young and Innocent
    A melodramatic hodge-podge that lacks the vivid outlines and clear characterizations of previous Hitchcock films, but is, nevertheless, a fair sample of Hitchcock devices.
  25. Beatriz at Dinner
    The story's aims are noble, but it works too hard at scoring its points to succeed as either entertainment or lacerating social commentary. The picture needed to bite harder and deeper.
  26. 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.
  27. I Am Legend
    The word "mixed" isn't mixed enough to fit my response to this film.
  28. The Other Woman
    The Other Woman earns a viewer's respect for the grace notes that director-screenwriter Don Roos finds beneath these familiar tunes, for the unassertive skill with which he paints upper-class life on the Upper East Side, and for the rightness of the performances.
  29. The Banger Sisters
    Dolman's comedy isn't exactly a barrel of emotional surprises, but its great cast underachieves admirably. There are worse ways to pass 94 minutes.
  30. The International
    If you take Tykwer's film even half-seriously, it will be like one of those horror movies that you leave, suspecting that the crazy, ingenious super-killer is waiting for you outside. A warning, then, to the susceptible: After seeing The International, don't dare go to an ATM.
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