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. Lift
    You can’t ask for more from a winter diversion—even if you wouldn’t wish for less.
  2. Mean Girls
    Everything that made the original picture so sly, funny, and affecting is gone. Musical numbers spell out the obvious, and loudly.
  3. The Color Purple
    The movie is lively and fun, without betraying the heavy undertones of some of its subject matter. It’s a reclamation, but a buoyant rather than somber one.
  4. American Fiction
    American Fiction isn’t nearly as cutting, or as ultimately moving, as its source material—but that doesn’t make it dismissible.
  5. Wonka
    The charm offensive that is Wonka toils way too hard for its meager pleasures. It may leave you feeling more worked over than invigorated.
  6. Napoleon
    It’s sometimes boring and pretentious and often a little silly, almost to the point—almost—of parody. But even with all its flaws tallied and noted like battlefield casualties, there’s still something mildly compelling about it.
  7. Fallen Leaves
    Sometimes a movie reaches the unreachable in us, not because it’s a grand masterpiece but because it’s as quiet and intimate as air.
  8. Saltburn
    Saltburn begins with a mildly intriguing premise. But Fennell can’t seem to distinguish dark, transgressive pleasures from outright unpleasantness, and the whole enterprise ends with an acrid aftertaste.
  9. The Hunger Games: The Ballad of Songbirds and Snakes
    The Hunger Games: The Ballad of Songbirds & Snakes, directed by Francis Lawrence, strives to offer spectacle, drama, and excitement. But it’s really just a tired rehash, albeit an extravagant one, this time with less appealing characters. As dystopias go, it’s a real bummer.
  10. What Happens Later
    What Happens Later, directed by Meg Ryan, works so hard at trying to give us something fresh and novel that I couldn’t help wishing it were better: the cloud of dissatisfaction I felt after watching it kept trying to reshape its molecules into a better movie, albeit one that could live only in my head.
  11. The Holdovers
    Like most of Payne’s movies (Sideways, The Descendants, Nebraska), The Holdovers is merely coated with a thin veneer of misanthropy that Payne methodically buffs off to reveal actual human feelings. It's the mechanism that works for him, but that doesn’t make it a good one.
  12. Anatomy of a Fall
    Triet’s approach to telling this story is decidedly tasteful; she layers one subtly intriguing detail atop another, like a muted accumulation of snowfall. It could all be a little too hushed and antiseptic—but Hüller’s performance gives the movie the vitality it needs.
  13. Taylor Swift: The Eras Tour
    Taylor Swift: The Eras Tour is 2 hours and 48 minutes of an irresistibly shiny, shimmering Taylor Swift. She’s the lure skimming through the water; we’re the gawping trout, dazzled to the point of transcendence. All that for less than 20 bucks.
  14. The Exorcist: Believer
    As for Green’s Exorcist: Believer, which starts out strong—evoking all the reasons demons in search of a body to possess can’t resist the hormonal lightning rod of adolescent girls—and ends in a dumb jumble of generic-looking zombie-girl Blumhouse special effects: I’ve already forgotten it.
  15. Dicks: The Musical
    Dicks is so in love with itself and its own overworked kooky world that it treats the audience like the outsider in a threesome. Sometimes the self is the least interesting part of self-expression.
  16. Fair Play
    Writer-director Chloe Domont’s skillfully constructed debut feature Fair Play is neither a horror movie nor a corporate thriller, though it bears earmarks of both, with some dashes of erotic-thriller intrigue tossed in.
  17. Cassandro
    As Bernal plays him, Cassandro is a hero for our dismal times, not just because he crashes through norms, but because he makes it look fun, even when it most certainly isn’t. This is a performance filled with truthful joy, and it floods this modestly scaled but open-hearted movie with light.
  18. Reptile
    Reptile just feels wayward and listless.
  19. Origin
    Origin works as a visual summation of Wilkerson’s ideas. But it’s also a movie about a woman striving to bring her ideas to the world, even in the midst of her own personal crisis. The life we plan and hope for is rarely the life we get. Origin is an exhortation to use every heartbeat wisely.
  20. Priscilla
    Have you ever had an intense experience—fallen madly in love, say—only to look back years later and feel it had happened to a different person, a person who had walked through a dream, and survived it, to get to the self you were destined to become? That’s the feeling Sofia Coppola captures in her quietly extraordinary Priscilla.
  21. The Killer
    Fincher seems to be having a great deal of fun with The Killer. Though he takes it seriously as a piece of action craftsmanship, there’s nothing overserious about it.
  22. Maestro
    This is a complex and sophisticated picture, the kind of grown-up love story we see all too rarely these days, especially when it comes to starry, big-ticket moviemaking. It’s entertaining and robust and forthright; it’s also tremendously sad, not necessarily in a bring-your-hanky way, but in a deeper, more truthful way.
  23. Poor Things
    Poor Things might have benefited from some trimming—it takes a little too long to get cooking—but it’s Lanthimos’ finest movie so far, a strange, gorgeous-looking picture that extends generosity both to its characters and the audience. And Stone—so dazzling in The Favourite—provides its thrumming pulse.
  24. Ferrari
    Mann is a fantastic technician, but his perpetual coolness is a liability. He seems to want us to understand this complex, deeply private man, one who was both revered and reserved. But in the end, he’s more interested in Enzo Ferrari’s mystique than in his humanity.
  25. Bottoms
    Bottoms, though it presents itself as a sort of sideways heir to comedies like Heathers and But I’m a Cheerleader, simply runs its jokes into the ground.
  26. Heart of Stone
    Heart of Stone is quite glossy and beautiful to look at, and though there’s not much that’s dynamic about her, Gadot at least has a charming insouciance. Even if you’ll be hard-pressed to remember any of it three hours later, the runtime of Heart of Stone flies by quickly enough.
  27. Dreamin' Wild
    This isn’t just a movie about reawakened ambitions, but about how our teenage hopes inform our grownup selves, or perhaps haunt them. It’s a lot to pack into a seemingly unassuming little movie, but Pohlad—who also directed 2014’s superb Love & Mercy—pulls it off.
  28. Passages
    This is a smart, lustrous film, and a bracingly honest one, the kind of movie that leaves you feeling both invigorated and a little blue.
  29. Oppenheimer
    Nolan shapes Oppenheimer’s story into something like an epic poem, focusing not just on his most famous achievement, but on everything that happened to him afterward; Nolan is maybe even more interested in Oppenheimer as a complicated, questioning patriot.
  30. Barbie
    It’s true that Barbie does many of the things we’ve been promised: there is much mocking and loving of Barbie, and plenty of skewering of the suits. But none of those things make it subversive. Instead, it’s a movie that’s enormously pleased with itself, one that has cut a big slice of perfectly molded plastic cake and eaten it—or pretend-eaten it—too.
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