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. Welcome to the Dollhouse
    Solondz observes all this activity from an objectifying distance, very much the anthropologist trekking through the heart of darkness
  2. Fargo
    All attitude and low aptitude.
  3. Rumble in the Bronx
    You watch these impossible stunts with fear and gratitude for the hardest-working man in show biz. To see your first Jackie Chan movie is to fall in love with what the movies once were: a comic ballet of bodies in motion.
  4. Beautiful Girls
    Beautiful Girls is always in touch with reality but never drowned in it. [19 February 1996, p.64]
    • Time
  5. Broken Arrow
    The audience gets as pulverizing a workout as the stars do. Or rather, the stars' stunt doubles, who deserve Oscars for best supporting masochism.
  6. White Squall
    This is, or was, a true story, but invested as it is with relentlessly cliched emotions, it plays like cheap fiction.
  7. Twelve Monkeys
    Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
  8. Dead Man Walking
    It is a measure of its complexity--and of the forces Penn and Sarandon have held in reserve during their hypnotic struggle for his soul--that its final moments leave us awash in emotion.
  9. Nixon
    The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
  10. Heat
    A lot of very good actors...do honest, probing work in a context where, typically, less will do.
    • Time
  11. Jumanji
    Director Joe Johnston's elaborately dressed kids' movie--about a board game that sucks its players into a perilous jungle overrun by lions, rhinos, monkeys, crocodiles and spiders--spends so much time on the how of special effects that it neglects the why of characterization.
  12. Sabrina
    They have fussed with Sabrina, but they have not really engaged it. They have not found the little twinges of pain, the awkward stumbles into vulnerability, that animate the best comedies, and the best love stories too. Wilder's film had a few of them--enough to ensure that the movie and its audience did not feel totally manipulated.
  13. Sense and Sensibility
    [It presents] us with a vast range of richly developed, gorgeously played characters ... and mov[es] them gracefully through time and a lot of very pretty spaces without ever losing its conviction, its concentration or our bedazzled attention. [18 Dec 1995]
    • Time
  14. Georgia
    It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
  15. Casino
    So long as Casino stays focused on the excesses -- of language, of violence, of ambition -- in the life-styles of the rich and infamous, it remains a smart, knowing, if often repetitive, spectacle.
  16. Toy Story
    When a genius like Lasseter sits at his computer, the machine becomes just a more supple paintbrush. Like the creatures in this wonderful zoo of a movie, it's alive!
  17. The American President
    As bustling and impassioned as the best Sturges and Capra movies, this one captures both the purposeful edginess of Administration Pooh-Bahs (Martin Sheen, Michael J. Fox, David Paymer and Samantha Mathis--nice jobs, all) and the isolation of the President. [20 Nov 1995, p.117]
    • Time
  18. GoldenEye
    How well do Bond's established conventions survive after a third of a century's hard use, the post-cold war deglamourization of espionage and the arrival of yet another actor in the central role? The short answer is, on wobbly knees.
  19. Ace Ventura: When Nature Calls
    Wearying, stupefying, dumber than dumb, When Nature Calls would be a career ender for Carrey--except that a zillion people have seen it. Stop this, folks. It'll only encourage him.
  20. Leaving Las Vegas
    A movie that may be just a bit too pleased with its own artful bleakness.
  21. Copycat
    Copycat, directed by Jon Amiel ("The Singing Detective", "Sommersby"), means to be a Greatest Hits album of atrocities. A sick mind is a terrible thing to waste. [13 Nov 1995, pg.120]
    • Time
  22. Get Shorty
    A smart, shrewdly crafted movie.
  23. Mallrats
    The humor is gross-out but inoffensive, since it's rooted in whimsy, not malice. Smith finesses the sophomore jinx with sophomoric high jinks. [6 Nov 1995]
    • Time
  24. Kicking and Screaming
    But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
  25. Devil in a Blue Dress
    Writer-director Carl Franklin's cool, expert adaptation of Devil in a Blue Dress, Mosley's first novel, evokes the spirit of '40s film noir more effectively than any movie since Chinatown.
  26. Seven
    It is very tiresome peering through the gloom trying to catch a glimpse of something interesting, then having to avert one's eyes when it turns out to be just another brutally tormented body.
  27. Showgirls
    Obscene level of incompetence, excessive inanity in the story line, gross negligence of the viewer's intelligence, a prurient interest in the quick buck. [2 Oct 1995]
    • Time
  28. Unstrung Heroes
    Diane Keaton, directing her first fictional feature, gets us safely through a movie that could have turned to mush at any moment.
  29. Clockers
    The film is more than a murder mystery and more than a study in character conflict. At its best, it is an intense and complex portrait of an urban landscape on which the movies' gaze has not often fallen.
  30. Clueless
    It's like a restaurant where you go for the food and go back for the atmosphere. Or for the waitress. [13 July 1995]
    • Time
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