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. Eurovision Song Contest: The Story of Fire Saga
    As Lemtov, Stevens is so absurdly lascivious that he supercharges the movie every time he shows up, which, thankfully, is often. Innocent gazelles everywhere, look out.
  2. Star Trek: The Motion Picture
    Star Trek is, finally, nothing but a long day's journey into ennui.
  3. The Zero Theorem
    The Zero Theorem is a spectacle that demands to be cherished — as long as the society Gilliam portrays is a satire, not a prophesy.
  4. The Guilt Trip
    The Guilt Trip works because we all know and like a Joyce Brewster (or dozens of them).
    • 50 Metascore
    • 20 Critic Score
    Nine 1/2 Weeks
    Adrian Lyne, late of Flashdance, directed this silliness, and three writers watched their script fall victim to the death of a thousand cuts.
  6. Pirates of the Caribbean: At World's End
    Their film is not so much thought out as strung together -- colorful incident upon colorful incident, but without logic, gathering suspense or any attempt to establish emotional connections between audience and actors.
  7. Champions
    With Champions, director Bobby Farrelly returns us to the late 1990s, a time when there were fewer sorely needed guidelines, but also fewer gatekeepers just waiting to catch well-meaning people who happen to trip up.
  8. The Campaign
    Four minutes of Bush on SNL is just right, but 85-minutes of Cam Brady feels like a lot, even with a strong supporting cast that includes Jason Sudeikis as Cam's campaign manager and Katherine LaNasa as Cam's picture-perfect, but mean-as-nails wife.
  9. Ticket to Paradise
    If Clooney and Roberts are both wonderful actors, at this point they’re just not that good together, at least not in this setup.
  10. 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
  11. Twins
    The whole movie has a warmth about it that never slops over into sentiment: there is much more here than tall-guy, short-guy jokes. [12 Dec 1988, p.82]
    • Time
  12. Letters to Juliet
    I'd take any woman in my life, ages 10 to 100, to Letters to Juliet and my guess is we'd both leave with a little Italian glow.
  13. The Island
    For all the menace of its techno-prattle, its implicit boosts for humanism and its swell production design, the picture is finally a bore. Sci-fi was more powerful when its special effects were cheap and crude, its ideas simple but potently stated.
  14. You People
    You People stretches hard to make its points, but for the most part it’s terminally safe.
  15. Prince of Persia: The Sands of Time
    No masterpiece, Persia is fun for exactly as long as it takes to sit through it.
    • 50 Metascore
    • 40 Critic Score
    Top Gun
    Top Gun is about the training of the Navy's best fighter pilots and their blooding in cold war incidents, and the only thing Director Tony Scott has not brought up to date is the story. It is the one about the hotdog who has to be taught to be a team player. They were peddling that one before Writers Jim Cash and Jack Epps Jr. were born.
  17. Cowboys & Aliens
    Gradually, though, the movie sinks into ordinariness, serving up too many Spielbergian reaction shots of each cast member gawking or gulping at an alien encounter, and too many moral lessons that must be learned or taught.
  18. 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
  19. Mickey Blue Eyes
    Director Kelly Makin has a gift for casually tossed-off farce.
  20. The NeverEnding Story
    A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
  21. Cassandra's Dream
    It is a talkative film, rather earnest in its tonalities, not at all a deft, witty or well-paced. On the other hand, it is, for Allen, a comparatively rare excursion into lower-class life.
  22. Sleepers
    At some low, what's-next level, Sleepers works like, well, gangbusters. [28 October 1996, p. 113]
    • Time
    • 49 Metascore
    • 70 Critic Score
    The Devils
    It is like a lunatic opera, an attempt to make a furious poem out of frenzy. Russell's flamboyant theatricality and his interest in the perverse have been too much imposed on his other films; but here, style and subject are perfectly matched. The film does not work as drama. But as a glimpse of hell it is superbly, frighteningly effective.
  24. S1m0ne
    Simone is a funny, smart, improbably successful satire on contemporary celebrity obsessions, the waning summer's most delirious comedy.
  25. Addicted to Love
    A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
    • Time
  26. Lucky You
    Not in any sense a great movie, a masterpiece that future generations will want to rediscover. But it is a solid, well-made, generally gripping and intelligent movie -- and how many of those have lately been made in America?
  27. Far and Away
    Somehow it works, in part because of the way director Howard keeps his crowded frames abustle with activity, in part because of the sheer indomitability with which his leading characters are endowed by the actors and by writer Dolman, but mostly because the movie takes enlivening chances with its material.
  28. The Good German
    Soderbergh doesn't miss a trick, and for a while it's fun for us to share in his fun. But there comes a moment when his Euro-noir film turns into another sort of exercise for the audience: an exercise in boredom.
  29. Demolition
    Vallée, working from a script by Bryan Sipe, packs in too many symbols and potent signifiers – some are harmless, others are literally sledgehammer heavy. The movie doesn’t need all that when it’s got Gyllenhaal.
  30. 2012
    Any sentient viewer will be able to predict every lumpy twist of this ludicrous, fitfully enjoyable movie.
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