Time's Scores

Select another publication »
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
view
per page
  1. Shooter
    Wahlberg could be the actor that action movies have been looking for since Sly, Arnold, Harrison, Bruce, Jackie and Jean-Claude -- all in their 50s or 60s -- got too old to execute the leg lifts necessary to kick bad guys in the butt.
    • 53 Metascore
    • 50 Critic Score
    The Wiz
    So much wit and talent and energy crowd the screen in this lavishly filmed variant of the Oz story that it is depressing to realize that the production never had a chance.
  3. RocknRolla
    The main problem is that Ritchie keeps playing the same old song. It's a swell tune, and we don't mind hearing it every few years, but we'd welcome another subject in a transposed key. Even the Material Girl tries out fresh material.
  4. Crash
    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.
  5. Tea with Mussolini
    Maggie Smith and Judi Dench are glorious comic actresses, while Joan Plowright provides a firm, touching moral center to the film. They almost make you forget Cher's totally out-of-it work as a disapproved-of American and carry the film to its destiny, which is one of inoffensive inconsequence, prettily staged. [24 May 1999, p.88]
    • Time
  6. Vanity Fair
    There's something about her (Nair) Vanity Fair that doesn't quite work. There is no depth beneath its bright surfaces, no potent emotional undercurrents.
    • 53 Metascore
    • 50 Critic Score
    The Lords of Flatbush
    The movie is adept at portraying aimlessness, getting at the greasy anomie that was so much a part of that time. But there is a lack of ambition, as if no one involved in creating the film wanted to cut deeper than a little double-edged nostalgia.
    • 53 Metascore
    • 70 Critic Score
    Hamlet
    Franco Zeffirelli's film is plenty pretty. It almost works as a cloak-and-bodkin adventure
  9. The Chronicles of Narnia: The Voyage of the Dawn Treader
    Dawn Treader, the name of the ship in the story, should here be rechristened Yawn Treader. If this movie were a bedtime book, the wee ones would be asleep by page two.
  10. The Hudsucker Proxy
    The Coens have deliberately cut themselves off from their best subject. Try as they will to create a vision of corporate (and urban) hellishness through sheer stylishness, theirs is a truly abstract expressionism, at once heavy, lifeless and dry.
  11. The Amazing Spider-Man 2
    Frantic and rote by turns, mislaying the power of the central love story and piling on the mutant adversaries. For at least this installment, Spider-Man is Amazing no more.
  12. 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
  13. Sharp Stick
    This is a film made with tenderness, more an exploration than a definitive statement, and a reminder that awkward sex isn’t necessarily bad sex: if anything, it’s the ultimate proof of our bewildering, imperfect humanness.
  14. 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.
  15. Bachelorette
    Apparently Bachelorette has been divisive, with audiences either falling hard for it or walking away disgusted. I'd have fallen harder for it if I'd walked away more disgusted.
  16. Muppets from Space
    Bringing Gonzo to his senses gives the Muppets briskly economical opportunities to satirize government, media excesses and cult sci-fi's more tiresome tropes.
  17. Gnomeo and Juliet
    The result is a knockoff cinematic ceramic.
  18. Café de Flore
    The film is generous to all its besotted creatures, and to the audience as well. Viewers who fall in love with Café de Flore will find that it loves them back.
  19. Wanderlust
    Wanderlust, a comedy that looks way better than it actually is set amidst the dreck of late winter releases.
  20. Deep Water
    Deep Water comes dressed up as an ‘80s-style erotic thriller, a genre that I, for one, would love to see revived. But it’s so tepid, so lacking in heat or even a pulse, that it’s about as sexy as a clogged artery.
  21. Australia
    There is some elemental human desire -- lately largely denied at the cinema -- to see pretty people in handsome landscapes assuaging our need for epic romance. On that level, Australia delivers with real panache.
  22. O
    On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
  23. Malcolm & Marie
    Levinson has ripped quite a few rock ’em-sock ’em pages from the John Cassavetes tradition, as well as Who’s Afraid of Virginia Woolf? But if the couple’s fighting is amusing at times, it’s mostly lacerating and circular in a way that courts boredom rather than sympathy or any other deep, honest response.
  24. White Squall
    This is, or was, a true story, but invested as it is with relentlessly cliched emotions, it plays like cheap fiction.
  25. Metroland
    Metroland finally makes a good, subtle case for the bearable weightiness of middle-class being, for the higher morality of muddling through.
  26. Billy Lynn's Long Halftime Walk
    Everything in Billy Lynn’s Long Halftime Walk should work — and yet the picture falls flat. It’s a story enslaved by a director’s approach rather than served by it. His mannered placement of the camera is hard to ignore, and the actors suffer for it.
  27. You, Me & Tuscany
    Beautiful young people, stunning scenery, and—did I mention?—unreally gorgeous tomatoes: none of these are negligible movie pleasures, and You, Me & Tuscany—directed by Kat Coiro and written by husband-and-wife team Ryan Engle and Kristin Engle—serves them up unapologetically.
  28. Luther: The Fallen Sun
    The mere presence of Elba’s Luther, with his haunted gaze, his voice as plush as the finest antique Persian carpet, is enough to keep The Fallen Sun from sinking.
  29. Carrie
    Why did these talented folks decide to take on Carrie when they had nothing innovative to bring to it and, by refrying the same blood sausage, risked invidious comparison to the original? To put it another way: If the most modest expectations cannot be met, indeed must be crushed, then What Is Life?
  30. In Time
    It's a great idea that Niccol can't translate into a great movie.
Page:

Top Trailers

See all »
See all trailers »