Time's Scores

Select another publication »
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
view
per page
  1. The Host
    If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
  2. Zodiac
    Fincher, whose work on "Fight Club" and "Panic Room" displayed his expertise in melding the suspenseful and the lurid, plays it cool here. He lets his stars do their thing.
    • 57 Metascore
    • 70 Critic Score
    Miss Potter
    The director, Chris Noonan, doesn't play to our sentiments, he just lets them naturally evolve--even the animation of a few of her (Potter's) drawings doesn't feel especially forced. The result is an honorable and curiously winning film.
    • 73 Metascore
    • 60 Critic Score
    Notes on a Scandal
    Director Richard Eyre and screenwriter Patrick Marber keep forcing us past disbelief and into the perverse pleasures of nastiness. If nothing else, their film is the perfect antidote to all those warm, forgiving schoolboy dramas we've endured through the years. This corn is not green; it is rotten down to the last kernel.
    • 61 Metascore
    • 80 Critic Score
    The Good Shepherd
    Damon is terrific in the role--all-knowing, never overtly expressing a feeling. Indeed, so is everyone else in this intricate, understated but ultimately devastating account of how secrets, when they are left to fester, can become an illness, dangerous to those who keep them, more so to nations that base their policies on them.
  6. Curse of the Golden Flower
    This is high, and high-wire, melodrama. It's less soap opera than grand opera, where matters of love and death are played at a perfect fever pitch. And grand this Golden Flower is.
    • 89 Metascore
    • 90 Critic Score
    Letters from Iwo Jima
    Terse is the word for Eastwood's directorial style. It rarely editorializes; it doesn't emote or orate. It just tells the damn story of a soldier's honor, which means doing the job no matter the odds--indeed, no matter the mission.
    • 76 Metascore
    • 80 Critic Score
    Dreamgirls
    It's great to see a movie musical with a smart sense of the genre. All Dreamgirls lacks is the amazing energy and passion of the original.
  9. The Good German
    Soderbergh doesn't miss a trick, and for a while it's fun for us to share in his fun. But there comes a moment when his Euro-noir film turns into another sort of exercise for the audience: an exercise in boredom.
    • 56 Metascore
    • 50 Critic Score
    Breaking and Entering
    The film is handsomely mounted and well played (particularly by the always magical Binoche--such a wonderfully alert actress), but somehow it never draws one into its schemes.
    • 64 Metascore
    • 60 Critic Score
    The Pursuit of Happyness
    Do we care about Gardner and son? Oddly, we do, because they are so appealingly played. What more might we wish for them? A movie that's a lot less repetitive.
    • 64 Metascore
    • 70 Critic Score
    Blood Diamond
    DiCaprio, here as in "The Departed," proves himself the most watchful and watchable actor of his age. Since his teens, he has known how to make moral dilemmas seem both profound and sexy, and at 32 he just keeps getting better.
  13. Apocalypto
    Gibson is a primitive all right, but so were Cecil B. DeMille and D.W. Griffith, and somehow we survived their idiocies.
  14. The Lives of Others
    Smartly crafted, impeccably acted, The Lives of Others packs a subtle punch, from its creepy first images to its poignant finale.
  15. Casino Royale
    This is a Bond with great body but no soul.
  16. A Good Year
    Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
  17. Stranger Than Fiction
    A more sensitive Ferrell in a script that plays like Charlie Kaufman Lite: that should send up breakthrough and Oscar signals. It doesn't quite, though. The movie is clever, but a little too pleased with its own clockwork intricacy.
  18. Babel
    Babel is a movie that leaves you feeling limp and wrung out, but mysteriously moved by its vivid human encounters with the hot, tightly wired, chancy and coincidental world, ever capable of terrorizing us when we least expect it.
  19. Flags of Our Fathers
    Clint Eastwood has crafted a bold and meticulous epic.
  20. The Prestige
    For all the film's murky misdirections, it is very enjoyable. That's because Nolan's recreation of the illusionists' backstage world is so marvelously detailed, including as it does revelations of how some of their best tricks are accomplished.
  21. Man of the Year
    A watchable film, but it -- and its star -- might have done so much more.
  22. Little Children
    Little Children does not have quite the bleak discipline of Field's more keenly judged "In the Bedroom." Yet it is a more ambitious film and a considerable achievement.
  23. The Queen
    Mirren, who won an Emmy playing Elizabeth I for HBO, may deserve an Oscar for this ripe appraisal of Elizabeth II.
  24. All the King's Men
    You can, if you will, think of All the King's Men as a purely political parable, but that is to miss its blackest, bleakest meanings.
  25. The Ground Truth
    Both horrifying and hopeful.
  26. The Illusionist
    By the end, the canniest viewers may not be fooled, but--and you can believe this--they may be mesmerized.
  27. World Trade Center
    Very simply, World Trade Center is a powerful movie experience, a hymn in plainsong that glorifies that which is best in the American spirit.
  28. Miami Vice
    Dark, detailed and only really gets going when the gunplay starts.
  29. Scoop
    At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
  30. Little Miss Sunshine
    That metaphor is pitch-perfect, but the film works a little too hard at proving the vileness of beauty pageants.
Page:

Top Trailers

See all »
See all trailers »