Time's Scores

For 2,161 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Flags of Our Fathers
Lowest review score: 0 Cocktail
Score distribution:
2161 movie reviews
  1. Blindspotting is entertaining, but it also packs an emotional punch. Sometimes, even the place you call home can make you feel like a ghost.
  2. Mamma Mia! Here We Go Again is terrible. And irresistible. How a movie that’s almost not even a movie can be both of those things at once is one of the mysteries of filmgoing, and one of its puckish pleasures.
  3. It’s all just Dwayne Johnson getting the job done. There ain’t no mountain, nor skyscraper, high enough for him.
  4. The most of-the-moment movie on the landscape right now — it may end up being the most politically and culturally relevant movie of the year. As a piece of filmmaking, it’s far from perfect.
  5. It has to be more of the same, but better, and the movie doesn’t quite succeed. You can’t really make a bigger, better Ant-Man — that just means defying the diminutive, carefree scale that made the earlier movie work in the first place.
  6. There’s no such thing as perfect love in families; often it’s the fine threads of tension that actually hold things together. Granik’s "Winter’s Bone" was greatly admired for the way it presented “ordinary people” of the Ozarks. But Leave No Trace is better.
  7. If you’re looking for a movie that speaks to the moment, a mindless action-thriller probably isn’t it.
  8. Perceptive, probing and ultimately devastating, The King is for anyone who cares about where this country has been and where it’s headed.
  9. Fallen Kingdom is so committed to thunderous spectacle that it fails to capture the poetry of these beasts in all their spiky, scaly, long-necked wonder. They deserve better.
  10. Movies don’t have to be bigger and bolder than we ourselves are. Haley’s films are things we can reach toward – there’s an intimacy and candor about them that feels welcoming.
  11. The new Superfly isn’t a great work of artistry or of cheap thrills — it’s so in between it’s practically bourgeois — but in the swagger department, it just squeaks by.
  12. If Incredibles 2 harbors a current of seriousness, what really makes it work is that it is so purely delightful.
  13. There’s some creepy, spooky stuff in Hereditary, images and ideas that just might surface in your nightmares. But the radical, undiluted humanness of Collette’s performance is the movie’s most haunting effect. There’s nothing supernatural about it. Call it the best humans can do without witchcraft.
  14. With a promising cast like that, not to mention the glittery party setting, Ocean’s 8 should be great fun. Instead, it’s a kind of noncommittal semi-fun.
  15. Dern’s mastery is so complete that it makes conversation about the actor’s skill or the awards she’ll likely win seem unworthy; her performance ignites the screen with increasing tension, stuffing a lifetime’s worth of repressed trauma into a moment.
  16. Leto is one of those movies that whisks us into a world that feels both familiar and fresh, like a sense memory of a life we might have lived if we’d been born in another decade or on another continent.
  17. If it’s hard to understand exactly what Godard is trying to say in this brief scrapbook scamper—it clocks in at one hour, 25 minutes—just watching it is a strange, melancholy pleasure, and an open window into the world of things that worry its creator.
  18. The film ends with a syrupy coda that betrays its earlier subtlety. But Ronan and Howle are the keepers of its true spirit.
  19. Star Wars lore is woefully lacking in sex appeal — even Han Solo is more of a guy’s guy — but Glover has an unruly, charismatic elegance. He belongs in a better movie, but at least he perks this one up.
  20. Part of the movie’s understated triumph lies in its casting: Hawke is an actor who clearly cares, and worries, a lot–the tree of life is practically etched into his forehead.
  21. Although 3 Faces is far from Panahi’s best work, it’s still a solid primer on how much a skilled filmmaker can achieve with very few resources.
  22. BlacKkKlansman is both hilarious and exquisitely direct, and had it been made before November 2016, you might call Lee’s approach a little alarmist. But if anything, he’s restrained. This is an angry film as well as a hugely entertaining one, and Lee has complete control over its shifting tone, minute by minute.
  23. It deftly walks the line between appropriately somber and great, sophisticated fun.
  24. Disobedience, based on a novel by Naomi Alderman, cuts deeper than your standard forbidden-love story, largely because the actors are so attuned to their characters’ anguish.
  25. A multifaceted, bittersweet delight.
  26. There’s no pacing in Avengers: Infinity War. It’s all sensation and no pulse. Everything is big, all of the time.
  27. It’s not always clear if we’re supposed to think the “new” Renee is basically unbearable, or totally awesome. The movie has many more flaws than Renee does: It isn’t as light on its feet as it should be, and Kohn and Silverstein frame some of the gags too broadly, particularly a boardwalk bikini-contest scene that’s dragged down by some crude gross-outs.
  28. Although Chappaquiddick doesn’t address Kennedy’s subsequent legislative record, it’s the silver-lining storm cloud that hangs over the movie.
  29. If you focus on the acting alone, it’s fun to watch these two circle each other–but the movie around them doesn’t bring us any closer to the heart of this aggrieved city.
  30. Disquieting and skillfully crafted thriller.

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