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. Touch
    This is a movie of gentle but resonant pleasures; it slows the world down, a little, for the span of time you’re watching it. And couldn’t we all use a little of that these days?
  2. Sing Sing
    To watch this movie’s actors, many of them playing versions of the men they used to be not so long ago—to see them incorporating classic pop-locking moves into their swordplay, or tinkering with the phrasing of Hamlet’s soliloquy until it rings true to their experience—is to witness a cautious but joyful reawakening.
  3. A Family Affair
    When it sparkles, which is often, it’s perfectly enjoyable.
  4. Green Border
    It’s a work that blends compassion with artistry so purely that there’s no way to separate them. This is bold filmmaking that makes us feel more courageous too.
  5. Janet Planet
    This is a child’s-eye view of a parent rendered without a sheen of nostalgia—it feels less like a story being told by a thoughtful adult looking back than one springing directly from the fierce, untamed mind of a child.
  6. The Bikeriders
    Reverence can sap the life out of a film—that and too much acting. And boy, is there a lot of acting in The Bikeriders.
  7. Brats
    The movie’s lo-fi vibe is part of its charm.
  8. Robot Dreams
    This is a movie that feels, in the best way, like the last day of summer: radiant, bittersweet, redolent of memories in the making.
  9. The Apprentice
    If it isn’t a great movie, it’s at least a fascinating and thoughtful one, an even-handed film that doesn’t need to resort to extremes to paint an accurate picture of what America and the world are up against right now, in terms of one particular past and possibly future president.
  10. Anora
    There are few filmmakers as open-hearted, as stone-soup inventive, as Baker is. In movies like Tangerine and The Florida Project, he’s always shown a knack for doing a lot with a little. But with Anora, so playful yet so emotionally fine-grained, he maybe does the most. It's his best movie yet.
  11. The Substance
    The Substance is distinctive less for its nutso, over-the-top gore than for a single scene midway through the film that exposes a different kind of body horror—or, more specifically, the way insecurity can be its own kind of horror.
  12. Horizon: An American Saga - Chapter 1
    Horizon—while being at least somewhat culturally sensitive, handsome to look at, and reasonably engaging—still comes off as curiously undistinguished. It’s so tasteful, so careful, so eager not to upset or offend, that it reflects little sense of risk.
  13. Kinds of Kindness
    Kinds of Kindness is too parched and mannered to be either disturbing or funny or both—and not even its capable cast can rescue it.
  14. Bird
    This is what Arnold is so great at capturing: people just doing their best, which often means they surpass every expectation without even knowing it. Her generosity toward her characters is also generosity toward us. She hands us nothing, even as she gives us everything.
  15. Megalopolis
    I found myself almost literally leaning closer to the screen during Megalopolis, trying to grasp exactly what Coppola is seeking to communicate. I might have caught about a third of it, at best, but I’ll take a messy, imaginative sprawl over a waxen, tasteful enterprise any day.
  16. Furiosa: A Mad Max Saga
    Furiosa, rife with explosions, savage masculinity, and lots and lots of driving, is all spectacle and no vision. Its heroine deserves better.
  17. Challengers
    Working from a script by Justin Kuritzkes, Guadagnino takes pleasure in teasing us, toying with us, getting us all turned around. This is his most buoyant movie.
  18. Sasquatch Sunset
    The real problem with Sasquatch Sunset is that it’s distancing, in an art-project way. The movie is just too coy, too overt in the way it signals when we’re supposed to be appalled and when we’re supposed to be moved; it advertises its weirdness even as it strives to convince us how much these Sasquatch are like you and me.
  19. Civil War
    Shot by Garland’s regular cinematographer Rob Hardy, Civil War has the vibe of your standard desolate zombie movie with a modern American backdrop, but it's far less effective than your average George A. Romero project: sometimes a B movie with a sense of humor about itself says more about a nation’s despair than an overserious, breast-beating one.
  20. Monkey Man
    Whatever Patel is going for, he's at least singing out with conviction—not just from the diaphragm but also from the muscle better known as the heart.
  21. Wicked Little Letters
    It may have been conceived as the kind of classy-but-ribald entertainment that might lure older moviegoers back to theaters. But insulting their intelligence probably isn’t the way to go.
  22. La Chimera
    Alice Rohrwacher's enigmatic and bracing La Chimera, its touch as glancing as a zephyr, asks more of us while demanding less. It’s the kind of movie you wake up from, as opposed to one you merely watch.
  23. Road House
    This new Road House appears at a time when so much of our entertainment has been shrunk down to a manageable size. Even on the small screen, may its unruly spirit prevail.
  24. Immaculate
    It’s bad-gal blasphemy of the highest order.
  25. Irish Wish
    All this magical switcheroo plot nonsense is just a formality anyway: everyone who comes to Irish Wish—friend, foe or neutral observer—will have come for Lohan.
  26. Spaceman
    It’s one thing to dole out the happy pills that make an audience love you and another to earn their trust minute by minute. Sandler, it turns out, knows how to do both.
  27. Drive-Away Dolls
    It tries to be sexy but isn’t; it strives for screwball energy but only ends up being insufferably madcap; it works hard to serve up lashings of black humor, in the tradition of older Coen Brothers movies like Raising Arizona, but you can hear the wheels whirring behind every joke.
  28. The Taste of Things
    It’s simply blissfully restorative, a movie that gives you back something you didn’t realize you’d lost, one that might even make you forget what year you’re living in. Its pleasures run quiet and deep.
  29. Perfect Days
    There’s something inexplicably Wenders-like about it; he’s a filmmaker who looks for joy in the corners, and finds it.
  30. Tótem
    Tótem offers a promise of light beyond the sorrow, a concept that’s hard for children to comprehend. But then, adults need to be reminded of it too.
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