Time's Scores

For 2,973 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:
2973 movie reviews
  1. It is somewhat repetitive, but it is also wonderfully acted, especially by Barrymore.
  2. Works as a sweetly loony ensemble piece, a sort of cracked romance that's typical of director Barry Levinson at his shrewd but unpretentious best.
    • Time
  3. Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
  4. As long as Training Day stays tightly focused on the struggle between the two cops, the movie is first rate.
    • Time
  5. Your affection for Serendipity may depend on how fascinated you are by a movie that is apparently going after the all-time record for delayed consummation.
    • Time
  6. Unsparing but never unsympathetic, emerges as one of the year's best, most brutally honest movies.
  7. Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
  8. This is a good-natured retro romp that is truer to Golden Age movies than to golden oldies songs.
  9. O
    On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
  10. We are free to adore a sad, funny, always good-natured film that eccentrically, tolerantly explores that moment when revolutionary ardor commingled with bourgeois stolidity to form our present weirdly ambiguous culture.
  11. Corelli is a coffee-table movie: one leafs through the gorgeous vistas and nods through the narrative.
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  12. It's a fine madness, full of jaunty desperation, survivable disasters and the kind of ferocious concentration on a really stupid idea that once propelled Wile E. Coyote.
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  13. Elegantly made, romantically doomy, curiously affecting movie.
  14. Until a vigorous climax, the action scenes have little punch.
  15. Apocalypse Now is about an American, perhaps a human madness. It searingly depicts, and finally embodies, the spiritual wounds men inflict on themselves and one another in the name of war. To gain the hearts and minds of a distant people, we lose our own souls.
  16. Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
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  17. In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
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  18. A.I. will beguile some viewers, perplex others. Its vision is too capacious, its narrative route too extended, the shift in tone (from suburban domestic to rural nightmare to urban archaeology) too ornery to make the film a flat-out wowser of the E.T. stripe.
  19. The result is a lovely movie, one that allows its characters unexpected spurts of growth and regression, darkness and grace.
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  20. Everyone in the cast has his or her solo, and all rise brilliantly to their occasions, notably Gwyneth Paltrow, Jennifer Beals, Mina Badie and a divinely neurotic Jane Adams.
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  21. The net result of this mighty effort is perhaps predictable: near total inconsequence.
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  22. It is the hilarious business of Shrek, a delightful new animated feature based on the William Steig book, to subvert all the well-worn expectations of its genre.
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  23. The film dances; the heart sings.
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  24. This gripping documentary doesn't exactly say what went wrong, but the pain and puzzlement of its principals as things inexorably fall apart is palpable and saddening.
  25. The result is half Python, half Ivanhoe--and not as much fun as either.
  26. The smartest, funniest, most cleverly structured comedy of the year.
    • Time
  27. This criminal comedy remains deliciously deadpan about the wages of psychopathy.
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  28. Blow works for a scene or two, then stalls.
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  29. The film finally collapses under the burden of implausibility.
  30. As fine--hard, soft, approachable--as any in movie history.
    • Time

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