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. Made in Italy
    Visually, Made in Italy is reminiscent of another escape-to-Italy romance, Audrey Wells’ 2003 "Under the Tuscan Sun," starring Diane Lane (and also featuring Duncan). As these types of fantasies go, that movie was as satisfying as a deep sigh. Made in Italy is less so. But remember — we came for the scenery! And on that score, Made in Italy is a low-cost souvenir of the Tuscan-villa dream so many of us harbor, without the headaches of rewiring old electrical systems or fixing broken shutters.
  2. Renaissance Man
    Warm-hearted humanism is glopped all over Renaissance Man in the hopes that we won't notice that the story makes no sense.
  3. Last Action Hero
    Last Action Hero starts out mostly nuts, and winds up mostly bolts. Or, rather, winds down. That's a problem with pastiche: it must be constantly jump-started with ingenuity, and even that ultimately pales. By the end, nothing matters. [21 June 1993, p67]
    • Time
  4. Twilight Zone: The Movie
    "Wanna see something really scary?" asks Guest Star Dan Aykroyd at film's end. The Miller and Dante episodes are. So is the epic waste that informs much of this movie. [20 June 1983, p.73]
    • Time
  5. Underworld: Rise of the Lycans
    The enterprise is sluggish when it's not grinding toward the preposterous.
  6. The Raven
    Until The Raven almost literally loses itself during a chase in the city sewers, it nicely balances its literary gamesmanship with a R-rated thriller's mandatory gross-out tableaux.
  7. The Hangover Part II
    The chemistry this trio has is special; the premise of the sequel seems worn, but the way they work against and with each other is what provides the pleasure.
  8. The Caveman's Valentine
    Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou.
    • Time
  9. Batman v Superman: Dawn of Justice
    Batman v Superman lunges for greatness instead of building toward it: It’s so topheavy with false portent that it buckles under its own weight.
  10. This Is Where I Leave You
    So put it this way: If the Altmans were a real family sitting shiva, I’d drop by to commiserate and give a cheek-kiss to a few of the mourners (Bateman, Driver, Fey, maybe Fonda). I enjoyed seeing them, but I’d hate to be sentenced to being with them for the full seven-day stretch.
  11. The Village
    The film's payoff raises more questions than it answers, which may be Shyamalan's intent in this political parable of fear.
  12. Bridget Jones: The Edge of Reason
    We forgive Bridget the movie its obvious flaws because of its equally inescapable charm.
  13. Chandni Chowk to China
    A decent sampler for Americans who've never seen a full-out Bollywood musical, since it goes heavy on the action scenes and light on the big dance numbers.
  14. Jobs
    Kutcher, whose acting chops haven’t been tested in all those pretty-boy lead roles, was a welcome surprise. His movie-star glow distracts, but there is a strong physical resemblance. Moreover, he’s got many of Jobs’ mannerisms down cold, from that T Rex–like walk to the fingers that fan the air and the yoga-style postures left over from his bohemian youth. It’s a good impression, but Jobs itself is all too impressionistic.
  15. Snow Falling on Cedars
    Essentially a liberal soap opera.
  16. The Mexican
    Half comedy, half action piece, the movie runs sputteringly on the not inconsiderable charm of its stars. But basically it is languid, indeterminate and uninvolving.
  17. 9 Songs
    Neither lurid nor especially compelling. This is the triumph, and the limitation, of 9 Songs: it makes explicit movie sex ordinary--as ordinary as the sexual activities of most of the folks watching it.
  18. The Vow
    This sugary sweet chick flick is so rich in its ripeness and full in its foolishness that I look forward to groaning in happy horror when I inevitably see it again, whether while drinking or when laid low by the kind of flu whose symptoms include a desire to watch Meg Ryan rom coms on cable.
  19. Antebellum
    Bush and Renz keep careful control over the tone: this is a tense, thoughtful picture that seeks both to entertain and provoke, rather than to simply punish its audience. It’s also very clearly a work of cathartic fantasy-horror with an underpinning in history, not a historical document, and it leans hard into its pulp sensibilities.
  20. Maleficent: Mistress of Evil
    See it for the inventive, elaborate costumes (designed by Ellen Mirojnick), for the tiny — albeit slightly creepy — mushroom people and the miniature fairies wearing dandelion tutus, and for Jolie.
  21. The Long Kiss Goodnight
    Writer Shane Black mines his thriller premise while musing on issues of identity and redemption; he also shaped the itchy camaraderie of Davis and Jackson.
  22. A Family Affair
    When it sparkles, which is often, it’s perfectly enjoyable.
  23. Night School
    A movie featuring Kevin Hart is going to be a Kevin Hart movie: at this point, his personality is too big to fold up; his jackrabbit energy dominates. That doesn’t leave much oxygen for Haddish, whose loopy, billowing spirit needs lots of airspace. And still, somehow, she’s the movie’s guiding presence.
  24. Total Recall (2012)
    The new PG-13 movie is a fairly close adaptation of the Verhoeven, and lacks not just the earlier film's newness but its vigor, density, humor and R-rated juice. It's like the dinner-theater revival of a classic play, whose single asset is to remind those present how good the original was.
  25. The Last Castle
    Redford underacts, Gandolfini overacts, and this movie is directed with the same air of unreality, the same grim passion for cliches, both cinematic and emotional, that Lurie brought to his first film, "The Contender."
  26. Riding in Cars with Boys
    It is somewhat repetitive, but it is also wonderfully acted, especially by Barrymore.
  27. Dear John
    This isn't a love story, it's a misery story that drags on, not to a dramatic conclusion but a tepid moment.
  28. The Lady
    The Lady is still titled away from the churning melodrama of Suu Kyi's country and toward the intimate dilemma of a loving couple forced apart by circumstance.
  29. 360
    No scene lasts more than a few minutes, but the overall is effect is being subjected to 105 mins. of YouTube vignettes that someone has chosen. 360 is probably best appreciated or endured on a long flight similar to the one Hopkins takes in the movie.
  30. Where the Crawdads Sing
    This is a movie that seems to be striving to please a crowd, but its cornpone humility only becomes wearying.
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