Time's Scores

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:
2984 movie reviews
  1. Colombani has created uncommonly arresting entertainment.
  2. It will fascinate and possibly even delight cinephiles. Who does not enjoy gawking at accidents, particularly those in which there are no fatalities and the sad story unfolds in almost slow-motion clarity?
  3. Elia Suleiman's Divine Intervention is a cure for nagging ethnic generalities. This Palestinian sort-of-comedy has a sly wit that amuses and disturbs in equal, salubrious measure.
  4. The film is seductive, disturbing, enthralling -- a trip to hell that gives the passengers a great ride.
  5. Has so much razzle-dazzle that viewers may end up both raised and dazed. It's remorselessly inventive, trying anything fast and sassy to keep you watching. In other words, it's the most honest display of showpeople's need to be noticed this side of a Madonna concert.
  6. A raw, unblinking film. It teaches that in dire circumstances our only obligation is to our own survival; all else -- culture, ideology, even love -- is a dispensable luxury.
  7. Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.
  8. A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
  9. Results in about the nicest movie you could ask for at the holidays: a gently funny, sweetly adventurous film that makes you feel genuinely good, that is to say, entirely unconned by false sentiment or sharp, overmanipulative Hollywood practices.
  10. This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
  11. Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
  12. Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.
  13. Maid in Manhattan is not so much a movie as a collection of career moves. J. Lo needs a comedy hit to support her principal activity, adorning magazine covers. Fiennes needs to warm his austere British image if he hopes to become a true international star.
    • Time
  14. Sublime and sorrowful movie.
  15. The movie ends in a burst of violence that we are unprepared for and don't believe. Maybe it's the film's final joke. It's a miscalculation -- though a calculated one -- but it does not erase one's fond memories of all the odd, deeply humorous behavior that preceded it.
  16. A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"
  17. This is a chase movie (Simon Legree after three Little Evas) across parched outback terrain, captured with rapturous authenticity by cinematographer Christopher Doyle.
  18. Can't touch the 1972 film's austere poignancy, and McElhone lacks the bewitching beauty of Natalya Bondarchuk in the original Solaris. But the project's gravity and ambition can't be denied.
  19. May leave viewers emotionally disconnected from this distinctly unchipper Mr. Chips.
  20. As thoughtful as it is handsomely acted. Caine's subtle, bold performance should guarantee him an aisle seat on Oscar night.
  21. Carrera's handsome film offers a richly detailed portrait of a church not so much corrupt as morally lazy after centuries in command of an overwhelmingly Catholic country.
  22. There's something old-fashioned and dauntless about the way the film pushes past our initial resistance to its setting and subject matter, past pain, past defeat, to make this point. Because it rejects easy victories, this may be one of the few inspirational movies that could actually inspire someone, somewhere, sometime.
  23. Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.
  24. Take a while to get their vehicle to sail and soar. But when it does, this Planet is a treasure.
  25. Donen got it gloriously right the first time. Why do it again? And why do it like this?
  26. Julie Taymor's inventiveness has diminished to a kind of strained cuteness. Everything that makes an artist an artist -- the obsessions, the egotism -- is ignored in favor of upbeat movie conventions.
  27. An edgy, watchable film, but one that makes you feel more squeamish than screamish.
  28. Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
  29. Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?
  30. Rambunctious, disturbing, often hilarious new documentary.

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