Time's Scores

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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
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  1. Patriots Day
    Patriots Day, muscular and confident, falls right in line with Berg’s other work. And you might feel a little dirty after watching it, as if you’d been granted access to real-life suffering and tragedy that perhaps should have remained private.
  2. A Monster Calls
    Meticulously and sensitively made, though its best moments may be the lovely but intense watercolor-toned interstitial animated sequences that illustrate the monster’s thorny spiritual allegories, cartoons for grownups rather than for little ones.
  3. The Shallows
    One of the most perfectly constructed pictures of the whole year, a taut, magnetic, visually splendid little package anchored by a sly star turn from Blake Lively.
  4. Paterson
    It’s about love and poetry and dreams, and about the chance encounter that can close a wound with the magic efficiency of a tiny butterfly bandage. How you pour all of that into one movie is something of a mystery. But then, a good poem is always something of a mystery too.
  5. 20th Century Women
    This picture has a more melancholy, resonant edge. And as with "Beginners," there’s an extraordinary performance at its heart: Bening is terrific, getting at the way middle-aged loneliness and contentment can be so intermingled that it’s almost impossible to tell which is which.
  6. Toni Erdmann
    To say Toni Erdmann is funny doesn’t even begin to capture the out-there texture of the jokes, and of the actors’ timing.
  7. Hidden Figures
    Hidden Figures, both a dazzling piece of entertainment and a window into history, bucks the trend of the boring-math-guy movie.
  8. Silence
    Silence is something to see whether you’re certain there’s a God or whether you just believe in sunlight, which covers just about everybody.
  9. Passengers
    Inside this failed picture there’s a sicker, darker, more truthful one crying to get out. But for a while, Passengers is really going for something. The movie it might have been is lost in space, alone, never to be seen by mere mortals. All we can see from Earth are its few brightly burning scraps, but at least it’s something.
  10. Sing
    It jumps around from song to song, and from plot point to plot point, unable to trust in the attention spans of modern children, or even just modern human beings.
  11. Fences
    In the end, it feels too much like a school assignment. Washington approaches the material with canonical reverence, but that isn’t the same as shaking it up and bringing it to life on-screen.
  12. Assassin's Creed
    Assassin’s Creed the movie is fairly innocuous. It’s also cheerless and dumb.
  13. Collateral Beauty
    Every so often there comes a movie so tasteless, so nakedly pandering, so bodaciously ill conceived that you’ve got to see it to believe it. This year, that movie is Collateral Beauty.
  14. Rogue One: A Star Wars Story
    The story hits every expected beat, right when you expect it to. And it squanders some of its best resources.
  15. Things to Come
    Huppert is extraordinary — she reveals everything even when you think she’s showing nothing — and she’s the perfect actress, right now, for Hansen-Løve’s fine-grained perceptiveness.
    • 74 Metascore
    • 90 Critic Score
    Harry Benson: Shoot First
    Don’t blink–not even once. That’s the best advice for viewers of the dazzling new documentary Harry Benson: Shoot First.
  17. Jackie
    Where’s the line between a sensitive work of imagination and an invasion of real-life grief in the service of arty filmmaking? There’s a lot of clever technique in Jackie, like its canny, razor-precise editing. But there’s also something arch and distant about the picture.
  18. Lion
    By the time Lion has really begun, it already seems half over. That’s not to say the picture isn’t satisfying in a straight-to-the-gut way.
  19. Rules Don't Apply
    This is a picture Beatty has wanted to make for years, and if the movie isn’t the achievement it should be, it’s at least entertaining in fits and starts.
  20. Miss Sloane
    Storytelling efficiency is one of Miss Sloane’s most effective calling cards — that, and Chastain.
  21. Allied
    Zemeckis uses technology to elicit the feeling we get when we watch old favorites. It’s almost like Smell-o-Vision, but with intensified visuals instead of aromatics. Even within this highly synthetic world, Pitt and Cotillard give sturdy, coded performances that feel naturalistic, not phony.
  22. The Edge of Seventeen
    The Edge of Seventeen is particularly perceptive in how it deals with teenage sex—maybe even with sex in general.
  23. Manchester by the Sea
    Casey Affleck is both the soul and the anchor of the movie.
  24. Almost Christmas
    You’ve seen most of this before, but that’s pretty much the point: The familiarity of the setup means the actors can just knuckle down and do their thing, and their energy keeps the movie rolling at a clip.
  25. Billy Lynn's Long Halftime Walk
    Everything in Billy Lynn’s Long Halftime Walk should work — and yet the picture falls flat. It’s a story enslaved by a director’s approach rather than served by it. His mannered placement of the camera is hard to ignore, and the actors suffer for it.
  26. Fantastic Beasts and Where to Find Them
    The picture—directed by David Yates, who also gave us the last four Harry Potter films, terrific ones—feels both sprawling and crowded, as if it were trying to pack too much mythology into one cramped crawlspace.
  27. Elle
    Even by the out-there standards of "Basic Instinct" and "Showgirls," Paul Verhoeven’s latest, Elle, is a thing to behold. Part thriller, part obsidian-black comedy, part cerebral firebomb, it’s confrontational, terrible and glorious. You almost can’t believe such a picture exists.
  28. Doctor Strange
    Doctor Strange has one significant quality that most Marvel adaptations lack: A sense of humor about itself, which it wears as lightly as the most gossamer Cloak of Levitation.
  29. In a Valley of Violence
    The movie’s ending is little more than a fizzle. But wow, what a dog. The extraordinary animal actor Jumpy, a border collie mix with fabulous speckled legs and alert triangles for ears, listens attentively to every word from his master’s mouth, comprehending nothing yet understanding everything.
  30. Keeping Up with the Joneses
    Still, at its best Keeping Up with the Joneses riffs on something very real: the existential loneliness of living in a place that’s just too perfect. Everyone needs new friends now and then – even ones who make you eat snake.
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