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. The Alamo
    Politics aside, this is a handsome film with orange skies to die for, or under, and a lovely score by Carter Burwell. The picture has some ponderous and snooze-worthy stretches, but it attains a certain melancholic grandeur, with the actors and crew fighting as desperately as Crockett and Bowie to make the best of a fated adventure.
  2. The Odd Life of Timothy Green
    Whatever director Peter Hedges' intent, the movie itself, a sentimental blend of magical realism and saccharine emotions, is oddly false. It made me want to go on a sugar cleanse.
  3. The A-Team
    You could also say the picture lacks a coherent plot and complex characterization, but those are irrelevant to the genre. The movie is like a superior athlete who gets tongue-tied in a post-game interview but on the field is poetry in motion.
  4. The Passion of the Christ
    A serious, handsome, excruciating film that radiates total commitment.
  5. Home Alone 2: Lost in New York
    An uncynical sequel that actually deserves its assured success.
  6. Forces of Nature
    All its desperate plot maneuvers (Ben and Sandra making like Tarzan on a train roof) can't give the film wit; all the slo-mo sleet, rain and confetti can't give it style. [March 22, 1999]
    • Time
  7. The Dead Pool
    Eastwood can earn both laughs and respect just by standing in a crowded elevator and grunting ''Swell'' to his boss. Truth is, this time around, he doesn't get to do much else. [18 July 1988, p.73]
    • Time
  8. Red Tails
    Alas, it was George Lucas who became captivated by the Tuskegee Airmen and has, after many years as devoted producer, managed to turn their story into a feature film that falls much closer to the goofy "Hogan's Heroes" in the spectrum of World War II-focused productions than "Saving Private Ryan."
    • 46 Metascore
    • 60 Critic Score
    Two-Minute Warning
    Most of these matters cancel each other out, but there is just enough energy remaining to make Two-Minute Warning an amusing time waster.
  10. Ballad of a Small Player
    Ballad of a Small Player is only modestly entertaining, its allure as false as the neon promise of the high-rolling city it’s set in.
  11. The Nanny Diaries
    Something of an odd-duck movie. It is not a broad comedy or a wildly romantic one, either. Nor is it Edith Wharton lite. But it does partake of all those modes in intelligently observant ways.
  12. The Oranges
    Light as a feather, the movie is at times a modest pleasure, but inconsequential.
  13. Extremely Loud and Incredibly Close
    Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.
  14. Immortals
    The pity is that Tarsem's intelligence doesn't connect his cinematic eye to his narrative mind. The director's visual gift is like a brilliant retina, detached.
  15. Mirror Mirror
    Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
  16. The Sorcerer's Apprentice
    Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
  17. Rebecca
    Wheatley — who specializes in thrillers with a macabre vibe, like "Kill List" (2011) and "High-Rise" (2015) — overhandles and overworks the dough of Du Maurier’s basic story. His movie is sometimes dumb, sometimes dull and sometimes entertaining; it just doesn’t know what it wants to be, and that lack of vision drains its potential power.
  18. Beverly Hills Cop II
    There is an inherent problem about any sequel that too slavishly duplicates the style and substance of its predecessor; it cannot deliver the delight of discovery that the original provided. Axel made a swell first impression, but he is still living on it, perhaps not yet a bore, but not quite as fascinating as he once promised to be.
  19. Sin City: A Dame To Kill For
    Gaudily entertaining, occasionally wearying sequel.
  20. How Do You Know
    Yeah, well, I still like the film.
  21. King Arthur
    The weather is always inclement, the protagonists are all muddy when they're not bloody, King Arthur's Christianity is muscular but joyless, and Guinevere is often daubed with blue paint. No, folks, we're not in Camelot anymore.
  22. One Night at McCool's
    The smartest, funniest, most cleverly structured comedy of the year.
    • Time
  23. Fifty Shades of Grey
    Sometimes intelligent, often cuddlesome and ultimately bland.
  24. Capone
    Capone is an odd little film, at times weirdly engaging but often so bizarrely muddled that you might identify a little too closely with its perpetually unglued protagonist. But Hardy is always worth watching.
  25. The Da Vinci Code
    Howard and Goldsman have efficiently touched all the bases. But they haven't found a way to replicate the book's page-turning urgency.
  26. Hollywood Ending
    Is comedy a young man's game, like skateboarding or sex? Writing jokes, creating droll characters -- these take ambition, ingenuity and energy, and after decades of devotion to this voracious muse, a fellow can get pooped.
    • Time
  27. The Meg
    Statham is the real thing, and he’s key to the effectiveness of this good-natured and often highly ridiculous adaptation of Steve Alten’s 1997 sci-fi potboiler.
    • 46 Metascore
    • 60 Critic Score
    The Invisible Man's Revenge
    Yes, he ends up being felled by a heroic dog, but the film nonetheless creatively imagines the horrors of power in the wrong hands.
  29. Irish Wish
    All this magical switcheroo plot nonsense is just a formality anyway: everyone who comes to Irish Wish—friend, foe or neutral observer—will have come for Lohan.
  30. Knight and Day
    Yet he just kept going and going, and the slick, proficient Knight and Day is proof that you should never count Cruise out.
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