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. Ordinary People
    An austere and delicate examination of the ways in which a likable family falters under pressure and struggles, with ambiguous results, to renew itself. This is not very show-bizzy stuff, but for once, a movie star has used his power to create not light entertainment or a trendy political statement, but a work that addresses itself quietly and intelligently to issues everyone who attempts to raise children must face.
  2. 42: Forty Two Up
    Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.
  3. Krisha
    What really registers is how frustrating Krisha’s erratic, furtive behavior would be if she were part of your family — and how deeply sympathetic she is because, thankfully, she is not. Fairchild’s performance is key to the movie: Krisha is witty and chatty one moment, and shut down like a deserted fairground the next.
    • 86 Metascore
    • 80 Critic Score
    Shadows
    Caught in the ecstasy of collective creation, a handful of earnest amateurs have almost accidentally produced a flawed but significant piece of folk art.
    • 86 Metascore
    • 90 Critic Score
    Rebecca
    This time Hitchcock does it all his way, does a splendid job and has a splendid cast to do it with.
  6. Dead Ringers
    At times Dead Ringers also tilts out of coherence, with scenes that are dramatically stillborn. But Irons is splendid in both roles, and Cronenberg can create tour-de-force tableaux with his effortless black magic. [26 Sept 1988]
    • Time
  7. Boogie Nights
    So here's a tip for those attending this handsomely acted, epic-length little film. Ease into the sleaze, stare at the party animals, look but don't touch, and, oh, boogie all night. [October 6, 1997]
    • Time
  8. The Straight Story
    Alvin's tragic memories give perspective to the triumph of his trek, even as Farnsworth's weathered brilliance makes this movie a G as in gem.
    • 86 Metascore
    • 100 Critic Score
    The Great Escape
    With accurate casting, a swift screenplay, and authentic German settings, Producer-Director John Sturges has created classic cinema of action. There is no sermonizing, no soul probing, no sex. The Great Escape is simply great escapism.
  10. Cave of Forgotten Dreams
    An enthralled and mostly enthralling guided tour of what Herzog describes as "one of the greatest art discoveries in the history of human culture."
    • 86 Metascore
    • 80 Critic Score
    The Big Sleep
    Even on the chaste screen Hawks manages to get down a good deal of the glamorous tawdriness of big-city low life, discreetly laced with hints of dope addiction, voyeurism and fornication. A round dozen minor players help him out with great efficiency— not to mention Miss Bacall, who is like an adolescent cougar.
  12. Carrie
    Carrie's ultimate triumph is spectacular beyond anything one is used to in this antique genre. Brian De Palma's sure and powerfully individual style, blending romance, darkish satirical humor and suspenseful spookiness, transforms what could have been dreary stuff. From its first shot, Carrie catches the mind, energetically shakes it and refuses to let go even after the end credits have rolled.
  13. Showing Up
    The on-the-surface modesty of Showing Up is a kind of sorcery. It’s in the days afterward, when you’ve left its spell and gone back to the world, that its essence is more likely to take shape—a shape you could almost trace with your thumb, as if it were made of clay and not images, air, and feeling.
  14. EPiC: Elvis Presley in Concert
    Luhrmann has sourced some rare Super 8 footage from the Graceland archives. This newfound footage, painstakingly restored, forms the fabric of EPiC, which, despite Luhrmann’s penchant for hurtling over the top—or maybe even because of it—manages to feel profoundly intimate.
  15. Nobody's Fool
    By giving his movie a very effective realistic look, by helping his actors to shape strongly believable performances, even when they are doing implausible things, Benton lends credence to these inspirational fibs.
  16. Before the Devil Knows You're Dead
    It is, like quite a few Lumet pictures, rather small in scale, easy to overlook. But I think it is time to gather around a director who has embraced his octogenarian bleakness and sing his praises. Ultimately, I think you'll laugh a lot at what he has wrought here -- but only well after the movie is over and the full scale of its perversity settles into your bones.
    • 86 Metascore
    • 30 Critic Score
    Bonnie and Clyde
    Director Arthur Penn have elected to tell their tale of bullets and blood in a strange and purposeless mingling of fact and claptrap that teeters uneasily on the brink of burlesque. Like Bonnie and Clyde themselves, the film rides off'in all directions and ends up full of holes...The real fault with Bonnie and Clyde is its sheer, tasteless aimlessness.
    • 86 Metascore
    • 50 Critic Score
    West Side Story
    Unhappily, the film shares a serious flaw in the essential conception of the show; both are founded on a phony literary analogy and on some potentially vicious pseudo-sociology... Nevertheless, by sheer theatrical intensity, the film transcends its specious materials.
  19. Raiders of the Lost Ark
    Raiders of the Lost Ark has it all—or, anyway, more than enough to transport moviegoers back to the dazzling, thrill-sated matinee idyls of old. It is surely the best two hours of pure entertainment anyone is going to find in the summer of '81.
  20. May December
    May December could have more fire; it could be even more twisted. But it’s seductive enough to keep us following along, one betrayal after another.
    • 86 Metascore
    • 80 Critic Score
    The Odd Couple
    Playwright Neil Simon occasionally takes off his clowns' masks to show the humans beneath. In doing so, he has made his Odd Couple real people, with enough substance to cast shadows alongside the jokes.
  22. Happening
    It’s an unyielding picture in some ways; you might long for a sliver of optimism tucked amid its layers of grim truth. But then, all its hope lies in Anne’s face, as uncompromising as an early crocus. This is the face of a woman who deserves much more respect—for her body, for her very life—than her society affords her.
    • 86 Metascore
    • 60 Critic Score
    Patton
    The movie's vision blurs the man and, incidentally, the just war around him. Fortunately, the general is enacted by George C. Scott, who can sense a character in a gross script the way a sculptor can detect a man in a block of marble.
  24. The Lost Daughter
    To call The Lost Daughter an assured debut is to do it a slight disservice—assurance suggests that a filmmaker knows everything going in. What we see in The Lost Daughter is something greater: the act of discovery—of the gifts actors can bring to a story, of how to hold a complex narrative together—in progress.
  25. The Big Sick
    The Big Sick succeeds in doing so many things that romantic comedies — to the extent that they’re even made anymore — have failed to do for years.
  26. Argo
    In terms of quality, though, Argo is just so-so.
  27. The Grifters
    Best to savor The Grifters for its handsome design -- the picture looks as clean as a Hockney landscape -- and its juicy performances. [11 Feb 1991]
    • Time
  28. Traffic
    Finally, though, Traffic, for all its earnestness, does not work. It leaves one feeling restless and dissatisfied.
  29. The Master
    While the movie is glorious to watch, it brings no coherence or insight to its two main characters.
    • 86 Metascore
    • 40 Critic Score
    Boys Don't Cry
    The movie lets down the material. It's to cool: all attitude, no sizzle.
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