Time's Scores

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:
2973 movie reviews
  1. When our sympathies shift to [Cameron Diaz's Kimmy], the movie sours. It is no help either that Ronald Bass neglected to write (or Mulroney was unable to find) a character in Michael. Why all this fuss over this lox, we keep wondering.
  2. The screenwriters, Randall McCormick and Jeff Nathanson, and the director, Jan de Bont, have no interest in providing their actors with stuff to act.
  3. Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
  4. Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.
  5. A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
    • Time
  6. In its soft-spoken way, it is fierce, shaggy and deeply weirded out.
  7. The film has such a weakness for the easy incongruity (short men dancing with tall women--isn't that hilarious?) that it could almost be Australian. But Shall We Dance? also has an emotional gravity; it is grounded in a middle-aged man's nagging belief that he has one last chance to grab at life. [16 June 1997, p.76]
    • Time
  8. But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
  9. A true movie rarity: a brutally honest romance. If you loved "Sleepless in Seattle," you'll just hate it.
  10. The goofy hysteria of something like "A Summer Place" was infinitely more entertaining and emotionally authentic than the distant smugness of this failed clone. [7 April 1997, p. 76]
    • Time
  11. More important, we should take into account the fact that this is really quite a good movie--a character-driven (as opposed to whammy-driven) suspense drama--dark, fatalistic and, within its melodramatically stretched terms, emotionally plausible.
  12. An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
  13. In an era when films reduce the aged to comic cranks, Rifkin is heroic--the Lear of grumpy old men.
  14. Ordinarily such trespasses against truth would be enough to condemn such a movie, but Rhames' gravity and grace, Voight's pinched anguish as he wills himself to do right, the moving work of actors like Don Cheadle and Esther Rolle do much to redeem this film for human if not historical reality.
  15. The warming, nicely played relationship of the burglar and his lawyer daughter (Laura Linney) is the source of the film's absolute power. [24 Feb 1997, p. 67]
    • Time
  16. Writer Leslie Bohem and director Roger Donaldson brush briskly through the standard scientific and romantic blather. They know that in movies like this, complexity is the province of the special-effects people.
  17. This good-natured movie is very much in the spirit of those ancient comedies from Ealing Film Studios in which nice, silly people defend some enclave of old-fashioned sanity against the forces of brute modernism. [27 January 1997, p. 68]
    • Time
  18. Jogs from one incident to the next, amassing information and dispensing attitude but rarely creating real characters. That's supposed to be director Milos Forman's forte; here, though, nearly everyone is an enemy or a stooge.
  19. But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.
  20. An idiot-savant movie, knowing but not smart.
  21. Marvin's Room, the 1991 Scott McPherson play, filmed by Jerry Zaks, is an old-fashioned weepie of noble mien with many bright moments and a superb cast.
  22. Altogether wondrous.
  23. Perhaps they don't create quite enough deeply funny earthlings to go around, but a thoroughly meanspirited big-budget movie is always a treasurable rarity. And those little guys from far away are a hoot. [30 Dec 1996]
    • Time
  24. Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  25. For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  26. Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
  27. Ceases to be a cogent study of the disease of genius and devolves into two lesser creatures: an ordinary weepie and an Oscar contender.
  28. To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
  29. The movie could have been a gleaming showcase for cartoon wit. Instead it's an 87-minute commercial peddling sainthood for Michael Jordan.
  30. In its pagan fervor, this is an almost religious experience.

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