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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    • 59 Metascore
    • 40 Critic Score
    Bedknobs and Broomsticks
    Bedknobs and Broomsticks could use some magic itself. The fantasy is earthbound, the score by Richard and Robert Sherman (who also wrote music and lyrics for Mary Poppins) is forgettable, the special effects lackadaisical.
    • 78 Metascore
    • 70 Critic Score
    Play Misty for Me
    On an informal Richter scale of movie terror, Play Misty for Me registers a few gasps, some frissons and at least one spleen-shaking shudder. A good little scare show, in other words, despite various gaps in logic and probability.
    • 67 Metascore
    • 40 Critic Score
    Fiddler on the Roof
    The qualities that have kept the Broadway Fiddler running these seven years are in scant supply onscreen. Gone with barely a trace are warmth, joy, insight and even the most elementary kind of entertainment.
    • 93 Metascore
    • 100 Critic Score
    The Last Picture Show
    Director Bogdanovich has achieved a tactile sense of time and place. More, he has performed that most difficult of all cinematic feats: he has made ennui fascinating. Together, that is enough to herald him as possibly the most exciting new director in America today.
    • 94 Metascore
    • 90 Critic Score
    The French Connection
    The French Connection is a knockout police thriller with so much jarring excitement that it almost calls for comic-book expletives. POW!, ZOWIE! The film has all the depth of a mud puddle, but Director William Friedkin (The Night They Raided Minsky's) sets such a frantic pace that there is hardly a chance to notice, much less care.
    • 58 Metascore
    • 40 Critic Score
    Let's Scare Jessica to Death
    With the exception of Zohra Lampert's subtle and knowledgeable performance, no one in the cast has enough substance even to be considered humanoid. And after the first reel, the vampires seem to have lost their bite.
    • 49 Metascore
    • 70 Critic Score
    The Devils
    It is like a lunatic opera, an attempt to make a furious poem out of frenzy. Russell's flamboyant theatricality and his interest in the perverse have been too much imposed on his other films; but here, style and subject are perfectly matched. The film does not work as drama. But as a glimpse of hell it is superbly, frighteningly effective.
    • 85 Metascore
    • 40 Critic Score
    Walkabout
    Roeg and his scenarist Edward Bond (BlowUp) aim for the mind and miss wildly. Their preachy, anti-intellectual Natural Mannerisms are neither convincing nor new.
    • 81 Metascore
    • 80 Critic Score
    Klute
    Klute is a sharp, slick thriller about murder, perversion, paranoia, prostitution and a lot of other wonderful things about life in New York City.
    • 61 Metascore
    • 50 Critic Score
    The Anderson Tapes
    Unfortunately, failed comedy and vigorous suspense are handcuffed together for the entire trip.
    • 51 Metascore
    • 40 Critic Score
    They Might Be Giants
    The pretense cannot mask the film's pusillanimous ideas. They might be giants, but in truth they are not even windmills. Just wind.
    • 54 Metascore
    • 80 Critic Score
    Plaza Suite
    All three skits are only mildly illuminating front-line communiqués from the sexual wars. But when Simon is writing them and Matthau reading them, substance seems almost beside the point.
  13. Sweet Sweetback's Baadasssss Song
    Without question or competition, the most influential movie by a black filmmaker.
    • 66 Metascore
    • 90 Critic Score
    The Aristocats
    Other animations, such as Heinz Edelmann's Yellow Submarine, may show more audacity. The melodies in Disney's earlier efforts have been richer. But for integration of music, comedy and plot, The Aristocats has no rivals.
    • 63 Metascore
    • 90 Critic Score
    Little Big Man
    It also accomplishes that rarest achievement, the breathing of life into an ossified art form. The '70s has its first great epic.
    • 55 Metascore
    • 60 Critic Score
    Rio Lobo
    There are a few good scenes—an intricately executed train wreck, for example—but the movie is notably slack where it should be zestful.
    • 65 Metascore
    • 60 Critic Score
    El Topo
    Jodorowsky's is perhaps a prodigious, certainly a prodigal talent. What is most bothersome is not his chaotic cosmology but his coldness. He is so obsessed with allegorical meaning that El Topo misses any kind of full human resonance. It is instead a vivid if ultimately passionless passion play.
    • 84 Metascore
    • 70 Critic Score
    Love Story
    "What can you say about a 25-year-old girl who died?" You can say that her movie, though soapy, is better than her silly book.
    • 75 Metascore
    • 50 Critic Score
    The Landlord
    The Landlord is a glossy, flat, fake Hollywood attempt at black social comedy.
    • 86 Metascore
    • 60 Critic Score
    Patton
    The movie's vision blurs the man and, incidentally, the just war around him. Fortunately, the general is enacted by George C. Scott, who can sense a character in a gross script the way a sculptor can detect a man in a block of marble.
    • 80 Metascore
    • 100 Critic Score
    MASH
    M.A.S.H., one of America's funniest bloody films, is also one of its bloodiest funny films.
    • 61 Metascore
    • 40 Critic Score
    Topaz
    At 70, Hitchcock seems suddenly to have forgotten his own recipe. Topaz contains no chills, no fever—and most disappointing, no entertainment.
    • 51 Metascore
    • 50 Critic Score
    Hello, Dolly!
    It relies almost exclusively on the celebrated eyes, ears, nose and throat of Streisand. Her musicianship remains irreproachable. But her mannerisms are so arch and calculated that one half expects to find a key implanted in her back.
    • 89 Metascore
    • 80 Critic Score
    Downhill Racer
    It may be the first film in history that starts at the top, goes steadily downhill, and still stays interesting along the way.
    • 66 Metascore
    • 10 Critic Score
    Butch Cassidy and the Sundance Kid
    Every character, every scene, is marred by the film's double view, which oscillates between sympathy and farce.
    • 70 Metascore
    • 50 Critic Score
    The Italian Job
    Like most criminals, however, the creators expend all their energies on the heist and not nearly enough building their characters.
    • 87 Metascore
    • 90 Critic Score
    Medium Cool
    So strongly does it challenge the usual commercial film techniques and themes that Hollywood, ever wary both of stylistic innovation and contemporary politics, may never recover. Socially and cinematically, Medium Cool is dynamite.
    • 85 Metascore
    • 90 Critic Score
    Easy Rider
    The film has refurbished the classic romantic gospel of the outcast wanderer.
    • 98 Metascore
    • 80 Critic Score
    The Wild Bunch
    The Wild Bunch contains faults and mistakes, but its accomplishments are more than sufficient to confirm that Peckinpah, along with Stanley Kubrick and Arthur Penn, belongs with the best of the newer generation of American film makers.
    • 79 Metascore
    • 90 Critic Score
    Midnight Cowboy
    It is a mark of Voight's intelligence that he works against his role's melodramatic tendencies and toward a central human truth. In the process, he and Hoffman bring to life one of the least likely and most melancholy love stories in the history of the American film.
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