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. Ishtar
    Reasonably genial and diverting. [18 May 1987]
    • Time
  2. The Accountant
    The Accountant would be more entertaining if it just acknowledged its own nerdy outlandishness. Still, it’s something to watch Affleck play a man who has trouble expressing his feelings and struggles to read those of others.
  3. The Gentlemen
    It should be fun – but it isn’t. Ritchie, who wrote the screenplay from a story he conceived with Ivan Atkinson and Marn Davies, veers into territory that’s possibly anti-Semitic and maybe a little racist. It’s all a lark, so we’re not supposed to care, but some of the gags still leave a bitter aftertaste.
    • 51 Metascore
    • 40 Critic Score
    The Lord of the Rings
    Lacking a firm center in Frodo's story, the film plays itself out as a bewildering parade of elves, dwarves, ores, trolls and talking trees.
  5. Going the Distance
    The raunchy but charming Going the Distance is credible, intimate and more appealing than 90% of the romantic pairings in American movies these days.
    • 51 Metascore
    • 40 Critic Score
    They Might Be Giants
    The pretense cannot mask the film's pusillanimous ideas. They might be giants, but in truth they are not even windmills. Just wind.
  7. 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.
  8. Diary of a Wimpy Kid 2: Rodrick Rules
    Rodrick Rules often feels like a mainstreamed version of that wonderful short-lived television series, "Freaks and Geeks."
    • 51 Metascore
    • 50 Critic Score
    The Bad Seed
    Director LeRoy has been overly faithful to the play script. Actors march on and off the screen just as if they were making stage entrances and exits.
  10. Marry Me
    When did everything, including our expectations, get shrunk so small? We can ask more of romantic comedies, and there’s no shame in yearning for spectacle and glamour, too: J. Lo rising from a foamy faux ocean like a showbiz deep-sea goddess, anyone?
  11. John Carter
    The result is that John Carter plays like an alternate, inferior version of "Avatar"…Plus fleeting hints of John Ford's "The Searchers" - for this is also a Western.
  12. Taken
    The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
  13. Anonymous
    Emmerich has turned his attention to the past. He and screenwriter John Orloff have embraced a kitchen sink's worth of 20th-century conspiracy theories about the provenance of Shakespeare's plays, each wilder than the last. Oliver Stone's "JFK" looks reasonable compared to this.
  14. Jack Reacher
    Even when the film is cool, it manages to be wrong.
  15. Maze Runner: The Death Cure
    The movie’s hero, Thomas (Dylan O’Brien), is low-key and likable, though it’s his best pal, Thomas Brodie-Sangster’s Newt, who gets the most dramatic moments. He’s charming to watch, but by this point, it’s futile to wish for a cure-all.
  16. Happy Feet Two
    Everything that happens in Happy Feet Two is good-to-great.
  17. No Strings Attached
    The picture is no great shakes as cinema, and a shade too cute for its own good.
  18. Young Guns
    The film is basically a drag, and not helped by Christopher Cain's stand- around direction. And one's thirst for the clear, cool taste of traditional narrative -- motivated movement, defined antagonists, building suspense -- soon reaches maddening levels. A grownup could die in this wasteland. [5 Sept 1988, p.63]
    • Time
  19. For Colored Girls
    For Colored Girls feels like the cinematic equivalent to putting a garish reproduction of the Sistine Chapel on the ceiling of your McMansion and calling it art.

  20. 101 Dalmatians
    For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  21. Honkytonk Man
    It is a guileless tribute not only to plain values of plain people in Depression America, but also to the sweet spirit of country-and-western music before it got all duded up for the urban cowboys.
  22. Eat Pray Love
    Now that Eat, Pray, Love had lost its commas and become a movie actually starring Julia Roberts, I was no longer annoyed by how much it seemed like one; it had assumed its rightful place in the entertainment universe.
  23. Planet of the Apes
    Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
    • Time
  24. Shaft
    This is not necessarily an improvement, but it's not a total disaster either.
  25. The Rules of Attraction
    Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?
  26. Constantine
    Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
  27. Jurassic World Rebirth
    Edwards (director of 2016's Rogue One: A Star Wars Story and the 2014 Godzilla) and Koepp (who wrote the scripts for the first two Jurassic Park movies) know what they’re doing here: they locate the perfect ratio of human business to dinosaur antics, favoring the dinosaurs when in doubt.
  28. The Hunt
    In its eagerness not to condemn any political view, its points are so blurry that you have no idea what it’s trying to say. Its meaning, to the degree that it has one, just slides off the screen in a jellied mess.
  29. Labyrinth
    With their technical astonishments, Director Henson and Executive Producer Lucas have been faithful to the pioneering Disney spirit. In suggesting the thrilling dilemmas that await a wise child, they have flown worlds beyond Walt. [7 July 1986, p.65]
    • Time
  30. True Spirit
    Directed by Australian filmmaker Sarah Spillane, the picture is appealingly breezy, though it does have its share of tense moments involving killer waves and charcoal-toned stormy skies. Mostly, it’s an anthem of teenage independence and daring, the story of one young woman who set her sights on a dream while still a child and willed it into reality just a few years later.
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