Time's Scores

Select another publication »
For 2,984 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: 1,815 out of 2984
  2. Mixed: 939 out of 2984
  3. Negative: 230 out of 2984
2984 movie reviews
view
per page
  1. Leviticus
    Chiarella doesn’t rely on jump scares (though there are a few), and he has zero interest in sadistic gore. Nor is he arty or arch; his approach feels direct and heartfelt.
  2. Disclosure Day
    Disclosure Day is majestic, unnerving, and more than little wacky, though its pure unhinged quality is probably its secret sauce.
  3. Office Romance
    The truth is, you don’t even have to like Lopez to enjoy Office Romance, which breezes along on a current of enjoyable gags and reasonably lively banter.
  4. Power Ballad
    Wittingly or otherwise, Power Ballad is all about the preciousness and fragility of human creativity. And maybe, right now, its belief that everything can be put to rights with a happy ending is a fantasy too sad to bear.
  5. Bitter Christmas
    Bitter Christmas is so enjoyable to watch that you almost will yourself into believing that Almodóvar isn’t simply reworking, with certain beats that feel a little too familiar, some of his recent preoccupations.
  6. John Lennon: The Last Interview
    Ironically, or not, the very tools Soderbergh has used to make the film distinctive ultimately render it indistinct and unmemorable.
  7. Paper Tiger
    In places, this picture is wrenchingly tense, as if Gray were discovering a gift he didn’t know he had, playing on the audience’s nerves the way you’d gently tighten the pegs on a violin.
  8. All of a Sudden
    To live with, and in, All of a Sudden is to match heartbeats with these two women for a few hours. There are worse ways to spend your time.
  9. Is God Is
    Is God Is is fanciful and brutal, sometimes simultaneously, taking a page or two from Tarantino’s Kill Bill.
  10. Teenage Sex and Death at Camp Miasma
    Teenage Sex and Death at Camp Miasma sometimes gets tangled up in the rigging of its ideas, and the film blows off course more than once on its way to the ending. But its joyousness, tethered to its deep affection for movies that plenty of people would just call junk, is its guiding spirit.
  11. Remarkably Bright Creatures
    Remarkably Bright Creatures is a movie, like its cephalopod supporting star, with a gentle soul and an elusive spirit. It might not stick with you long, but it leaves a delicate print behind.
  12. The Devil Wears Prada 2
    If you’ve come to The Devil Wears Prada 2 looking for laughs, be prepared for a feathery fringe of existential angst on the side. Yet I'd argue that that makes The Devil Wears Prada 2 more pleasurable than less.
  13. Apex
    Apex fails to work either as a vehicle for sick thrills or an excuse for lots of feminist butt-kicking.
  14. Michael
    To deny Jackson’s complexity only flattens his genius—as well as his kindness and fragility—into something manageable, explainable. In the end, Michael does the same.
  15. Normal
    Normal may not be groundbreaking, but it does come equipped with a wicked spirit and some great B-movie energy.
  16. Lorne
    If Lorne is nothing else, it’s a portrait of a guy who knows when to zig and when to zag.
  17. Mother Mary
    Mother Mary, arty and self-conscious, is just a slog. It works hard to impress us with its slinky weirdness, which isn’t the same as simply being weird.
  18. You, Me & Tuscany
    Beautiful young people, stunning scenery, and—did I mention?—unreally gorgeous tomatoes: none of these are negligible movie pleasures, and You, Me & Tuscany—directed by Kat Coiro and written by husband-and-wife team Ryan Engle and Kristin Engle—serves them up unapologetically.
  19. Outcome
    Reeves’ presence in any movie tends to be a sort of salve; even with bad material, he generally coasts by on his laid-back radiance. But not even Reeves can put an adequate shine on Outcome, a satire that takes one spindly premise and grinds it down to a nub.
  20. The Christophers
    Simultaneously meticulous and casual, it’s the kind of movie only a master filmmaker could have made—though it's doubtful Soderbergh, perpetually moving away from one movie and toward the next, thinks of himself as a master filmmaker at all.
  21. The Drama
    It’s worth half your attention. You might use the other half to mourn the memory of what movies, even enjoyably mediocre ones, used to be.
  22. Project Hail Mary
    Gosling is such a human, and humane, actor, that he can easily mirror the humanity of a creature who’s not even human—one who doesn’t even have a face. Together, these two are unbeatable, and they also represent an old-fashioned ideal of what the movies used to mean to us.
  23. The Bride!
    It’s an intellectual joyride without the joy.
  24. 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.
  25. Wuthering Heights
    Brontë’s Wuthering Heights is a bleak book, but it’s not an ugly one: beneath its cloud cover of misanthropy, there’s feral, wildflower grace. Fennell has tossed all of that out, substituting her own unimaginative vision, plus a bunch of crappy dresses.
  26. Pillion
    Pillion is tender in a sneaky way: without judgment, it reckons with the things humans want, in bed or outside of it, and are sometimes afraid to ask for. It’s also in tune with the reality that we’re not born knowing everything about ourselves—and where’s the fun in that, anyway?
  27. 28 Years Later: The Bone Temple
    The Bone Temple is part satisfying triumph, part missed opportunity, and its pluses and minuses bump against one another in jangly discord.
  28. Young Mothers
    The Dardennes’ movies have a gentle uniformity, which is why they often slip through the cracks among flashier pictures vying for our attention. But Young Mothers is among the best of their films, so empathetically understated that its full power may not hit you until hours after you’ve watched it.
  29. No Other Choice
    No Other Choice is both too dully observed and too aggressively slapsticky to hit its mark. It’s a missed opportunity dressed up with proficient filmmaking.
  30. The Testament of Ann Lee
    The Testament of Ann Lee is unimaginable with any other actress—but then again, it’s unimaginable, period, a movie that takes big chances in a culture that, most days, seems allergic to them.
prev
Page:

Top Trailers

See all »
See all trailers »