Time's Scores

For 2,078 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Double Indemnity
Lowest review score: 0 Jack and Jill
Score distribution:
2078 movie reviews
  1. Think of A Fish Called Wanda as the next best thing to a Looney Tunes-Merrie Melodies summerfest&#133;Wanda defies gravity, in both senses of the word, and redefines a great comic tradition. [July 18, 1988]
    • Time
    • 97 Metascore
    • 100 Critic Score
    Whatever it was not, Gone With the Wind was a first-rate piece of Americana, and Americans in the mass knew what they wanted before the critics had got through telling them they should not want it.
  2. This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
  3. Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
  4. As fine--hard, soft, approachable--as any in movie history.
    • Time
  5. Without question, the best crime movie of the year--and one of the best movies of any sort now playing.
  6. Remarkable. [22 July 1991]
    • Time
  7. Huppert is extraordinary — she reveals everything even when you think she’s showing nothing — and she’s the perfect actress, right now, for Hansen-Løve’s fine-grained perceptiveness.
  8. Her
    Jonze creates the splendid anachronism of a movie romance that is laugh-and-cry and warm all over, totally sweet and utterly serious.
  9. Dunkirk is extraordinary not just because it’s ambitious and beautifully executed, but because Nolan, who both wrote and directed it, has put so much care into its emotional details—and has asked so much of, and trusted, his actors.
  10. Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]
    • Time
  11. The movie is one continuous, exhausting, exhilarating chase.
  12. In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.
  13. Peele succeeds where sometimes even more experienced filmmakers fail: He’s made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you’re laughing even as you’re thinking, and vice-versa.
  14. By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.
  15. 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
  16. A marvelously sad and funny docucomedy. [22 Oct 1990]
    • Time
    • 68 Metascore
    • 100 Critic Score
    Hair succeeds at all levels—as lowdown fun, as affecting drama, as exhilarating spectacle and as provocative social observation.
  17. Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
  18. Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
    • Time
  19. Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
  20. What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
    • Time
  21. For those of us who think this is the best comedy of 2004, the genius of the movie lies in its relocation.
  22. So Almost Famous is almost fabulous. Oh, all right. The movie's so clever and endearing, you can forget the almost.
    • Time
  23. As reversible misunderstandings grow into irreversible tragedy, it slowly dawns on you that this is a superior, heartbreaking film.
    • 87 Metascore
    • 100 Critic Score
    Probably the bleakest, least sentimental study of the Mafia in Italian or American film history.
    • 81 Metascore
    • 100 Critic Score
    This covertly brawny film, with a script by Matt Charman and Joel and Ethan Coen, has plot points that click like pegs under Spielberg’s tight direction. In his fourth pairing with Hanks, Spielberg again examines the furtive face of justice and issues another masterful ruling.
  24. Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.
  25. Mamet's elegantly efficient script does not waste a word, and De Palma does not waste a shot. The result is a densely layered work moving with confident, compulsive energy.
  26. Hidden Figures, both a dazzling piece of entertainment and a window into history, bucks the trend of the boring-math-guy movie.

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