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. Hail, Caesar!
    Hail, Caesar! doesn’t completely hang together. But Johansson in a mermaid’s tail? Really, why else make movies—or go to them?
  2. The 5th Wave
    Moretz gives the movie whatever warmth it has, though not even she can give it a real pulse.
  3. Mojave
    Mojave’s real reason for existing is the wiry, woolly dialogue that Monahan has spun out for his actors.
  4. The Hateful Eight
    Its glorious, snow-capped visuals aside, The Hateful Eight comes off as haggard and atrophied. It’s bloodless even in the midst of all its bloodiness; its characters are devoid of nobility, even the horrible kind. These are uglies not even a mother could love.
  5. Son of Saul
    Röhrig isn’t an experienced actor. In fact, he’s a poet and a former kindergarten teacher, living in the Bronx. But that could be what makes the performance so magnetic.
  6. Anomalisa
    Once you start reckoning with Anomalisa’s obsession with self-absorption, the novelty of this one-man pity party begins to wear off. A little puppet pain goes a long way.
  7. The Revenant
    The Revenant is supposed to be relentless, though you may find it tiresome, the movie equivalent of tigers circling a tree so single-mindedly that they churn themselves into butter.
  8. 45 Years
    The devastating truth of 45 Years, so beautifully wrought, is that even the most devoted couples are made up of two people who are essentially alone.
  9. Star Wars: Episode VII - The Force Awakens
    When you’ve been charged with reviving one of the most obsessively beloved franchises in modern movies, is it better to defy expectations or to meet them? With Star Wars: The Force Awakens, J.J. Abrams splits the difference, and the movie suffers—in the end, it’s perfectly adequate, hitting every beat. But why settle for adequacy?
  10. Krampus
    Some clever soul might have done something moderately effective with this idea, but Krampus is too dumb to be scary and too listless to be entertaining.
  11. Hitchcock/Truffaut
    This is a jewel box of a movie for anyone who loves either Hitchcock or Truffaut–or better yet, both.
  12. The Big Short
    McKay approaches this adaptation of Michael Lewis’ book with wit, energy and a surprising degree of clarity. But if the movie is a crackerjack entertainment, it’s one with a conscience.
  13. In the Heart of the Sea
    The picture is sometimes wayward and unwieldy, its dialogue creaky and awkward, like an amateur’s attempt at scrimshaw.... But in a movie climate rife with superhero reboots and rehashings of childhood favorites, it’s a small marvel that In the Heart of the Sea exists at all.
  14. Creed
    Creed mingles go-for-broke romance with bloody pugilist thrills—but instead of feeling like a rehash, it works like gangbusters. Coogler honors and builds upon the Rocky formula so that it feels both comfortingly old-fashioned and bracingly new.
    • 65 Metascore
    • 70 Critic Score
    The Hunger Games: Mockingjay - Part 2
    Mockingjay Part 2 is a worthy conclusion to a series that’s meant so much to so many, made stars of its younger players and allowed more-established performers to shamelessly ham it up.
    • 55 Metascore
    • 60 Critic Score
    The 33
    The world may have seen the outcome, but it’s still convincing, a story of courage without platitudes, and it features one of Antonio Banderas’ best performances in years.
    • 83 Metascore
    • 90 Critic Score
    James White
    There is no solace to be had in this raw, intimate drama, a feature-film debut for writer-director Josh Mond. No triumph of the human spirit. There is instead something rarer and more valuable: urgently personal filmmaking, and Abbott’s stunning performance.
    • 45 Metascore
    • 80 Critic Score
    By the Sea
    Jolie Pitt, in her third film as a director, infuses her original screenplay with a sparseness reminiscent of Hemingway’s tales of mislaid love and Michelangelo Antonioni’s cinematic alienation. But By the Sea is its own lovely creation, deadly serious about how grief divides, conquers and possibly unites.
    • 93 Metascore
    • 90 Critic Score
    Spotlight
    For all the dogged journalism and righteous indignation in the film, it’s this sense of intimacy, of community, of betrayal and misdirected allegiances — it was the Church, after all — that keeps the film from reveling too much in victory or triumph. That, in turn, makes it an emotional tour de force.
    • 60 Metascore
    • 80 Critic Score
    SPECTRE
    This sophisticated sugar rush is the longest Bond film ever, but it cruises by with an elegant sense of danger. As with all of Daniel Craig’s 007 outings, it amps up the intelligence and tamps down the attitude.
  21. Skyfall
    While trading on viewers’ familiarity with the series’ venerable fetishes (a cheer rises at the sight of Bond’s old Aston Martin and the sound of Monty Norman’s guitar theme from Dr. No), Skyfall has the life, grandeur and gravity of a satisfying, stand-alone entertainment.
    • 29 Metascore
    • 30 Critic Score
    Rock the Kasbah
    Old-school Bill Murray, deadpan and gonzo, spices up the amiable mess that is Rock the Kasbah. That’s both a saving grace and a curse. Because while Murray and his laid-back riffs anchor this oil spill of a story, he needs a more tangible movie to latch onto, and all he gets is a mirage.
    • 64 Metascore
    • 50 Critic Score
    Suffragette
    Earnest but costumey drama.
    • 66 Metascore
    • 80 Critic Score
    Truth
    Debuting director James Vanderbilt (who wrote Zodiac) has a great sense of forward motion and wrings suspense from an idea-driven story.
    • 81 Metascore
    • 100 Critic Score
    Bridge of Spies
    This covertly brawny film, with a script by Matt Charman and Joel and Ethan Coen, has plot points that click like pegs under Spielberg’s tight direction. In his fourth pairing with Hanks, Spielberg again examines the furtive face of justice and issues another masterful ruling.
    • 82 Metascore
    • 50 Critic Score
    Steve Jobs
    What’s most difficult about Sorkin’s intricate fantasy is not acknowledging Jobs’ darkness, but setting aside all hope of seeing the real man who inspired it.
    • 36 Metascore
    • 50 Critic Score
    Pan
    There's no denying that Pan is one ambitious fairy tale. But what's being labeled a "wholly original adventure" feels far from new, never mind necessary.
    • 70 Metascore
    • 100 Critic Score
    The Walk
    The Walk is a visionary high-wire act.
    • 64 Metascore
    • 60 Critic Score
    Everest
    The insertion of attractive Hollywood stars into a daunting landscape makes for some odd contradictions of scale as the story unfolds with white-knuckle inevitability. [28 Sept. 2015, p.61]
    • Time
      • Posted Sep 23, 2015
  30. Grandma
    Weitz knows his muse. But he’s smartly made room for Tomlin to explore her own wisdom, to look into a mirror (literal and figurative) of an older woman’s past and present with remorse, tears and, best of all, delighted laughter at discovering something new in herself. At 75, Tomlin remains the coolest.
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