Time's Scores

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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:
  1. Positive: 1,806 out of 2973
  2. Mixed: 937 out of 2973
  3. Negative: 230 out of 2973
2973 movie reviews
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  1. Ransom
    Its major sin--a certain ineluctable improbability--is pretty much offset by the moments of winsome humanity Gibson finds for his freebooter; by the rich, nicely tuned portrayals of the other actors; and by director Ron Howard's smoothly professional mastery of yet another genre that is new to him.
  2. Romeo + Juliet
    Luhrmann, an Australian who pretty much let his camera go nuts in the egregiously overrated "Strictly Ballroom", here makes reasonable, imaginative decisions that are, arguably, true to Shakespeare.
  3. Swingers
    Despite some rough edges and language, this is at heart a beguiling fantasy of comradeship.
  4. Sleepers
    At some low, what's-next level, Sleepers works like, well, gangbusters. [28 October 1996, p. 113]
    • Time
  5. Jude
    A careful, finally powerful film.
  6. Michael Collins
    There are pain and honor in this performance, and they constantly rise up to redeem a film that is less probing, less thoughtful than its director's claims and aspirations for it.
  7. The Long Kiss Goodnight
    Writer Shane Black mines his thriller premise while musing on issues of identity and redemption; he also shaped the itchy camaraderie of Davis and Jackson.
  8. Bound
    The Wachowskis have the predilection for loopy camera setups common to first-time directors, but their hearts are in the right transgressive place, and their film will tide some of us over until Quentin gets...well...unbound.
  9. That Thing You Do!
    There's evocative atmosphere in the period detail and perky faux-'60s tunes. A pity these are wasted in a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
  10. Secrets & Lies
    Rich in humor, pained or frolicking.
  11. Big Night
    A movie that is both as real as food on the table and as hauntingly evanescent as its taste on one's tongue.
  12. Tin Cup
    Rene Russo is both knowing and vulnerable, proving beyond a doubt that she is modern Hollywood's one true heiress to the screwball tradition. [19 August 1996, p.68]
    • Time
  13. The Fan
    De Niro's performance begins to seem more a matter of well-practiced gestures than real conviction, and the long, silly finale more an exercise in empty panache by director Tony Scott than a truly gripping suspense piece involving people we care about. [26 August 1996, p.61]
    • Time
  14. Jack
    One is left wondering why Williams has granted early retirement to his inner anarchist, what dark need compels a great clown to become a sad, fuzzy one in movies only Bob Dole - faking it -could love.
  15. Emma
    It is impressive enough that Paltrow holds your eye as a parade of lovelies and virtuoso actresses (Greta Scacchi, Polly Walker, Juliet Stevenson) march past. But her finest trick is to provide a comic subtext to Emma.
  16. A Time to Kill
    Director Joel Schumacher's breathlessly paced and incident-crammed movie will induce a certain sense of deja vu among veteran viewers.
  17. Trainspotting
    The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
  18. The Nutty Professor
    Murphy, abetted by director Tom Shadyac and a whole raft of writers, cannot entirely escape the curious blend of aspiration and sloppiness that marked the earlier film.
  19. Striptease
    Yes, Burt Reynolds has some dirty, lively moments as a crooked, sex-starved Congressman. But the crazy, nothing-to-lose anarchy of people living below the margin and beyond the fringe is not within Bergman's fastidious reach.
  20. Lone Star
    Sayles is a meditative storyteller, with a tendency to mute melodrama rather than letting it wail. But he is also one of the few filmmakers still ferreting out the strangeness and anxiety hidden beneath our poses of ordinariness. [22 July 1996, p.95]
    • Time
  21. Eraser
    The film, which had a troubled history and a humongous reported price tag of $120 million, could have been a fiasco; instead, it smartly remythologizes this indispensable Hollywood icon. [01 Jul 1996 Pg.65]
    • Time
  22. The Hunchback of Notre Dame
    The movie may not soar like Aladdin or roar like The Lion King, and it demands plenty of parental guidance; but it fulfills the Disney animators' dream.
  23. Stealing Beauty
    In Susan Minot's goofy script, Tyler ministers to ailing writer Jeremy Irons and other artsy layabouts while searching for the man on whom to bestow her virginity. The climactic deflowering scene provides the only giggles in an otherwise stodgy mess.
  24. The Cable Guy
    Aiming, perhaps, for a neat double helix of black humor and prankishness, they've ended up with a pretty ugly granny knot.
  25. The Rock
    Slick, brutal and almost human, this is the team-spirit action movie Mission: Impossible should have been.
  26. Mystery Science Theater 3000: The Movie
    As the gags pile up remorselessly, and the viewer strains to keep up with the story line and the cutting subtext, a furious but benign apnea takes hold. You can't enjoy a good long laugh because you'll miss too much. It's the happiest form of internal injury.
  27. James and the Giant Peach
    Apt to leave a haunting impression on the children who see it.
  28. Primal Fear
    Diverting without being fully absorbing, this is a film best appreciated as an exercise in--shall we say it?--Primal Gere. [15 Apr 1996, p.100]
    • Time
  29. A Family Thing
    There is delicacy and restraint in all these performances as they ease a far-fetched premise toward believability under Richard Pearce's clear, cool direction.
  30. Flirting with Disaster
    Upon all these folks, writer-director David O. Russell turns a bland, almost anthropological eye. Nothing surprises him and nothing outrages him, except for bed-and-breakfast lodgings, about which, at last, his movie tells the terrible truth. [1 April 1996, p. 72]
    • Time
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