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. Scream
    An idiot-savant movie, knowing but not smart.
  2. Marvin's Room
    Marvin's Room, the 1991 Scott McPherson play, filmed by Jerry Zaks, is an old-fashioned weepie of noble mien with many bright moments and a superb cast.
  3. Jerry Maguire
    Altogether wondrous.
  4. Mars Attacks!
    Perhaps they don't create quite enough deeply funny earthlings to go around, but a thoroughly meanspirited big-budget movie is always a treasurable rarity. And those little guys from far away are a hoot. [30 Dec 1996]
    • Time
  5. Citizen Ruth
    Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
  6. 101 Dalmatians
    For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
  7. Star Trek: First Contact
    Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
  8. Shine
    Ceases to be a cogent study of the disease of genius and devolves into two lesser creatures: an ordinary weepie and an Oscar contender.
  9. The English Patient
    To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
  10. Space Jam
    The movie could have been a gleaming showcase for cartoon wit. Instead it's an 87-minute commercial peddling sainthood for Michael Jordan.
  11. Breaking the Waves
    In its pagan fervor, this is an almost religious experience.
  12. 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.
  13. 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.
  14. Swingers
    Despite some rough edges and language, this is at heart a beguiling fantasy of comradeship.
  15. Sleepers
    At some low, what's-next level, Sleepers works like, well, gangbusters. [28 October 1996, p. 113]
    • Time
  16. Jude
    A careful, finally powerful film.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. Secrets & Lies
    Rich in humor, pained or frolicking.
  22. 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.
  23. 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
  24. 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
  25. 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.
  26. 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.
  27. 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.
  28. Trainspotting
    The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
  29. 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.
  30. 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.
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