Time's Scores

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:
2984 movie reviews
  1. Patti Cake$ motors along steadily on Macdonald's unsentimental charisma.
  2. Independently financed and distributed by Soderbergh, Logan Lucky is a magnificent movie that comes disguised as a modest one. Or, as I like to call it, a Joe Bang.
  3. Whose Streets? is rough around the edges, like a torn photograph whose borders have also been raggedly burned. But that's more a strength than a liability.
  4. Winterbottom is a gifted and extraordinarily versatile director. In the Trip projects, he may have found something of a meal ticket, but he still goes beyond the call of duty in making them cinematic.
  5. Realistically, it’s probably not possible to dance your cares away. But the determination of these girls makes you believe in it.
  6. Given how eagerly awaited this film has been, it’s safe to say that readers who love the series deserve a movie version made with more imagination, and less rote efficiency, than this one.
  7. A well-intentioned picture, it’s also a flawed one. This is filmmaking that sets out to make its points but fails, in big ways and small ones, to forge an emotional connection with most of its characters.
  8. Brigsby Bear is a sweet-natured picture with an undercurrent of prickly energy.
  9. Glowering from beneath the bangs of her moonbeam-platinum bob, Theron’s Broughton is equal parts air, light and iron. We’re just the moths clustering around her flame.
  10. The actors are all terrific.
  11. Girls Trip is just fun, a movie that—even within the context of its broad, exaggerated humor—never seems to be trying too hard.
  12. Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.
  13. Lowery can't always keep the movie from drifting through the mists of pretension, and the tremulous, too-precious score, by Daniel Hart, is sometimes intrusive. Still, the picture's visual imagery--the cinematographer is Andrew Droz Palermo--is so restlessly poetic that it's hard to turn away.
  14. The movie around him is sometimes glancingly light. Other times it works way too aggressively at being entertainment, rather than just breathing. But Holland, as both Parker and Spidey, is always fun to watch: His bumbling uncertainty and his boyish eagerness make him believable not just as a crime fighter but as a kid.
  15. It’s not going to change the summer-blockbuster landscape single-handedly, but at least it comes by its thrills honestly: This is a spectacle that trusts us to think.
  16. The plot, though, is only the lid of this Pandora's toy chest. Inside, the alert viewer will find humor, imagination and a little Oriental mysticism.
  17. Wright has orchestrated every swerve and near smashup—and one glorious foot chase—with precision, a rarity in action filmmaking these days.
  18. 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.
  19. Really, as "Hangover"-style dumb entertainments go, it’s certainly good enough. Which isn’t to say it’s anything close to what what women want.
  20. Director Brett Haley, who co-wrote the script with Marc Basch, brings enough understated sympathy to Lee's character to make the picture work--it throws off a gentle, sweet-spirited energy.
  21. The story's aims are noble, but it works too hard at scoring its points to succeed as either entertainment or lacerating social commentary. The picture needed to bite harder and deeper.
  22. Gadot is simply marvelous. Physically, she’s bold and commanding. But there’s a sweetness about her too, as if she and Jenkins understand intuitively that Wonder Woman can’t just be blandly awesome. She's got to be able to feel wonder too.
  23. Examples of absurdly misguided thinking--on the part of the U.S. military and the government--stack up quickly, and Michôd tracks it all with a sly wink.
  24. Wonderstruck embraces so many shimmery, evanescent ideas, it’s a marvel that any one picture—let alone one you can take your kids to—can hold them.
  25. Sandler is terrific here, even if you’re not sure you can stomach another man-child shuffling around in rumpled shorts.
  26. It does show us, in threads deftly woven, how circumstances can push hard against people, making everyday living a battle.
  27. Though it borrows some of the gauzy mood of The Virgin Suicides, it’s essentially unlike any other Sofia Coppola film, a serene, supple picture that hits more than a few notes of despair.
  28. Okja takes the worst impulses of Walt Disney, Wes Anderson, Tim Burton and Michael Moore and rolls them into one movie.
  29. Alien: Covenant is reasonably entertaining. But it slips off course after that opening section, and the problem is caused by the very creatures we presumably came to see.
  30. It's all more wearying than fun. Except for Law, whose courtly sangfroid can elevate even the dumbest roles.

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