Time Out London's Scores

  • Movies
For 376 reviews, this publication has graded:
  • 45% higher than the average critic
  • 6% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 12 Years a Slave
Lowest review score: 20 Percy Jackson: Sea of Monsters
Score distribution:
  1. Negative: 15 out of 376
376 movie reviews
  1. The Coens have given us a melancholic, sometimes cruel, often hilarious counterfactual version of music history. It's a what-if imagining of a cultural also-ran that maybe tells us more about the truth than the facts themselves ever could.
  2. It’s an exploration of all things surface, yes, but it has soul too.
  3. From this simple, not especially unique love story, Kechiche has fashioned an intimate epic.
  4. It’s one of the most insightful films ever made about the British class system.
  5. If you’ve ever sat at your desk wondering whether there’s more to life, or been kept awake by an insidious hum in the darkness, this will speak to your soul – even as its enveloping, disturbing, uplifting story sends your mind reeling with giddy possibilities.
  6. It’s an intoxicating marvel, strange and sublime: it combines sci-fi ideas, gloriously unusual special effects and a sharp atmosphere of horror.
  7. What 12 Years a Slave is really interested in is creating an honest, believable experience: in culture and context, place and people, soil and skin. The result can, at times, be alienating.
  8. Alongside archive material and new footage of Chet shot in his signature romantic, B&W style, Weber elicits frank reminiscences from his subject and a host of ex-lovers and friends.
  9. It’s the most haunted and dreamlike of all American films, a gothic backwoods ramble with the Devil at its heels.
  10. At once an investigation, a polemic and, in its final sequences, a tribute to human endurance. A remarkable film.
  11. This is quite simply one of the saddest movies ever made, a tale of loss, grief and absolute loneliness, an unflinching stare into the darkest moral abyss.
    • 85 Metascore
    • 100 Critic Score
    Lyrical, satirical and hugely entertaining, it deserves a wider audience.
  12. As ever with Leigh, Mr Turner addresses the big questions with small moments. It's an extraordinary film, all at once strange, entertaining, thoughtful and exciting.
  13. Most importantly, the film involves us: it draws us into the debate, makes us complicit, demands that we have an opinion, and then upends that same opinion a few minutes later. It's engaging and rousing.
  14. It's dazzling and rambling, intimate and sprawling, and it's carried along by an infectious, off-the-cuff jazz score. As soon as it ends, you'll be dying to fly with it again.
  15. It’s a joyous film, full of love and warmth but unafraid to admit that with sticking out your neck comes struggle and sorrow. Truly lovely.
  16. The film conceals as much as it reveals, and its beauty is that it pretends to do nothing else. It embraces a mystery and protects it, and it’s thrilling to behold.
  17. It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality.
  18. The cliché-averse will doubtless resist, but the laughter and tears here are never less than fully earned. A lovely film.
  19. Abrahamson has pulled off something quietly remarkable: a study of morality which never feels like a treatise, a bracingly realistic film about teenagers which never becomes patronising and a gripping melodrama which swerves sentiment. He may also have unearthed a genuine star.
  20. An enormously satisfying film: carefully observed and consistently compelling, it feels like an instant American classic, if a minor one.
  21. A stop-gap tale that’s modest, fun and briefly amusing rather than one that breaks new ground or offers hugely memorable set pieces.
    • 55 Metascore
    • 80 Critic Score
    I’m So Excited is the closest Almodóvar has come in years to early romps like ‘Labyrinth’, ‘Pepi, Luci, Bom’ and ‘What Have I Done to Deserve This?’
  22. Berberian Sound Studio is like nothing before – and whether or not it ‘works’ seems almost irrelevant. In this era of cookie-cutter cinema, Strickland’s deeply personal moral and stylistic vision deserves the highest praise.
  23. Scarecrow’ feels like an existential fairytale squarely rooted in the reality of America’s fraying backroads and small towns. It’s all a little rambling and anarchic, but later scenes in a jail have real bite. And when the sadness behind Lion’s smile is revealed, it’s also genuinely moving.
  24. If Heli lacks enough focus and thematic clarity to make it properly special, it's still winningly provocative and always compelling.
  25. More than ever Payne allows the humour to rise up gently from his story rather than burst through it.
  26. American Mary nods savvily to the ‘body horror’ of ‘Audition’ and ‘Dead Ringers’ but still possesses a truly original, deeply disturbing vision.
  27. This is a portrait of cycles and change. But the mood of the film suggests that we should be impressed that this ever-growing, ever-changing city of ours is still chasing after new versions of the modern.
    • 80 Metascore
    • 80 Critic Score
    The struggle for LGBT rights in Uganda might sound like a dry or distant subject. It’s the achievement of Katherine Fairfax Wright and Malika Zouhali-Worrall’s shocking, moving, enthralling and enraging doc to make it lively and urgent.
  28. The film is touching, but more than that it’s wise, witty and thought-provoking.
  29. Feels both modern and traditional – a halfway house between the broodier Nolan way of shaking things up and the louder, bone-crunching style that director Zack Snyder established with films such as ‘300’ and ‘Sucker Punch’. Man of Steel is punchy, engaging and fun, even if it slips into a final 45 minutes of explosions and fights during which reason starts to vanish and the science gets muddy.
  30. Everyone has a different story. I found myself holding my breath listening to them talk. The story twists like a thriller.
  31. The film keeps its good-evil borders compellingly supple, at least until a wobbly finale that requires Sarah to act like the Hollywood heroine she has so strenuously avoided becoming. It’s a minor blot on a film otherwise propulsively alive with prickly politics.
  32. This is easily Coppola’s funniest film. Leslie Mann is hilarious as Nicki’s phony spiritual mum.
  33. What a knotty, frighteningly real drama The Hunt is.
  34. This is a film built on sensation, misdirection and randomness. The result can be maddeningly obtuse, but it’s also breathtakingly lovely and genuinely unsettling.
  35. This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.
  36. While Monsters University can’t claim outright originality, this is a far richer movie than most were expecting.
  37. Events are still unfolding, so this is a snapshot in time, but Gibney’s conscientious, revealing document proves a mine of valuable information and affecting emotional insights.
  38. This tense New York drama from the co-directors of Bee Season and The Deep End is sensitive and almost unwatchably perceptive about dysfunctional families – and it’s acted with knife-sharp precision.
    • 61 Metascore
    • 80 Critic Score
    A gorgeous, amusing ode to the pleasures of stretching your wings a little.
  39. This also marks what may be Allison Janney’s funniest performance to date: her cheerful, outspoken drunk next door is an absolute hoot.
  40. This isn’t just the best-looking film of the year, it’s one of the most awe-inspiring achievements in the history of special-effects cinema. So it’s a shame that – as is so often the case with groundbreaking effects movies – the emotional content can’t quite match up to the visual.
  41. Its encouragement to let ourselves be captivated by everyday humanity as well as the old masters is both richly illuminating and quirkily endearing. Time well spent.
  42. ‘Bodies’ gets under your skin and stays there. And the gospel handclapping soundtrack feels like it’s drawing you into a dream.
  43. Rush is fast, slippery, stormy and dangerous.
  44. Bell goes easy on the preaching and heavy on the laughs without losing her feminist message.
  45. It's a terrifically moving film that has a fitting earthbound feel to it.
    • 45 Metascore
    • 80 Critic Score
    The film’s meandering, surrealist-kissed, early scenes dance nicely in time with his urban protagonist’s disconnected, existential malaise.
  46. A masterclass in how the most local, most hemmed-in stories can reverberate with the power of big, universal themes.
  47. One of the most pleasing things about Blue Jasmine is that it feels truly knotty and never obvious in how it unfolds.
  48. This punky adaptation of Irvine Welsh’s novel Filth is a glossary of grimness, a dictionary of darkness. But it also dishes up humour that’s blacker than a winter’s night in the Highlands and unpolished anarchy that’s true to Welsh’s out-there, frighteningly frank prose.
  49. Don’t be put off by the jock-ish ‘extreme sports’ subject matter, this is an insightful, deeply affecting journey of emotional discovery beyond the thrill of speed and the roar of the crowd.
  50. The story is a bit predictable and rough around the edges. But it’s heart-on-the-sleeve sweet.
  51. It’s lightly played, often very funny and shot all over Paris with energy and wit, and boosted by superb, inquiring turns from Broadbent and Duncan.
  52. With gorgeously crisp photography and pitch-perfect performances from the two leads, this is one of the most intriguing and thoughtful American films of the year.
  53. Nicole Holofcener has a reputation for making Woody Allen-ish chick-flicks. Which sounds like a snidey compliment. Enough Said is her best yet.
  54. It’s not a pretty story, but its warmth lies in its fondness – love, even – for the two boys at its heart.
  55. Occasionally baggy, always sincere, this is an essential document of a defining era when ‘soul’ really meant something.
  56. Though it’s most successful as a character study, the movie also works as an unusually honest variation on the traditional cinematic love story (it rings especially true on the difficulties of starting over after years of settled family life).
    • 71 Metascore
    • 80 Critic Score
    It can be very funny, but there’s a bittersweet streak underpinning even the lightest moments.
  57. This painful, beautiful doc chronicles the fightback.
  58. Baldwin and Toback make a snappy comic duo, and half of their talks with a line-up of luminaries focus on the art of filmmaking rather than the business.
  59. Catching Fire looks and feels epic. Hands down it’s one of the most entertaining films of the year.
    • 66 Metascore
    • 80 Critic Score
    As a director, Gordon-Levitt demonstrates considerable technical flair through stylistic flourishes and coaxes great performances out of his co-stars, while he remains centre stage throughout.
  60. This is a woman who has been through hell and come out kicking, and the result is as much a celebration of her life as it is a documentary.
  61. Low key and occasionally frustrating it may be, but Computer Chess is a supremely intelligent, beautifully constructed film, interweaving comedy and character, satire and subtext, and loaded with more ideas than some filmmakers manage in a lifetime.
  62. Lovering’s taut direction and editor Jon Amos’s skilfully modulated cutting wring the maximum suspense from cinematographer David Katznelson’s multi-camera set-ups, tapping into deep-rooted psychological and primal fears.
  63. The whole thing goes down with a few bucketloads of sugar. What keeps it from becoming sticky schmaltz is Thompson, who plays Travers with wit and warmth, adding a spoonful of spoilt child to help the battleaxe go down.
  64. Even after The Hurt Locker and Zero Dark Thirty, this brings us chillingly closer to the real story of the post-Iraq shitstorm.
  65. Big Bad Wolves requires a high tolerance for pain, but its wicked humour and oblique satire rip open Israel's paranoid, militarised system like a jagged saw blade.
  66. We’re never far from Von Trier, and both Skarsgård and Gainsbourg appear to offer different versions of the author himself.
  67. There’s plenty of flesh (much of it belonging to porn doubles), although the film is rarely, if ever, what most people would call erotic or pornographic. It’s neither deeply serious nor totally insincere; hovering somewhere between the two, it creates its own mesmerising power.
  68. Scorsese never digs too deeply under the skin of these reprehensible playboy douchebags, and there are times where the swooping photography, smash-and-grab editing and toe-tapping soundtrack conspire to almost – almost – make us like them. But when the film’s cylinders are firing, it’s impossible not to be dragged along.
  69. Ultimately story is secondary to Russell’s delicious detailing of character and milieu.
  70. The effect is talismanic: overlaid by a thoughtful voiceover, it invites the audience to share the pain in a cathartic act of imaginative reclamation.
  71. The result is entertaining and insightful, balancing cold statistics with real-life stories of success and tragedy, presenting a broad, clear-eyed view of an increasingly complex issue.
  72. This is a whistle stop tour that leaves you wanting more.
  73. What will take your breath away is how viciously Armstrong crushed and humiliated anyone who dared to make allegations against him, and that includes former teammates he’d doped with.
  74. The Invisible Woman is only partly a romance; it’s the tragedy of Nelly’s life that makes itself more powerfully heard.
  75. It’s no masterpiece, but it’s slick and tense, and the camerawork has something of the in-the-moment, on-the-ground immediacy of the French New Wave films.
  76. The LEGO Movie is sheer joy: the script is witty, the satire surprisingly pointed and the animation tactile and imaginative.
  77. Full of Anderson’s visual signatures – cameras that swerve, quick zooms, speedy montages – it’s familiar in style, refreshing in tone and one of Anderson’s very best films.
  78. Her
    Her is a keeper of a film, quietly dazzling.
  79. It’s infuriatingly irresistible.
  80. Against all the odds, Stake Land director Jim Mickle has cooked up a controlled, affecting ‘companion piece’ that honours the Mexican original while deepening its themes.
  81. A startling examination of how artistic principles translate into real-world actions, and a moving portrait of a genuinely, unexpectedly brave man.
  82. Every emotion is bang-on; every scene unfolds grippingly and naturally; and by the end, these characters feel like people you know.
  83. The material inspires affection, given its knowing pastiche of everything from Universal horrors to '50s grade-Z sci-fi, and a shamelessly hedonistic, fiercely independent sensibility that must have seemed a welcome relief from the mainstream bombast of other '70s musicals.
  84. There’s much to ponder in a brave, defiantly idiosyncratic film that’s as mesmerising as it is unexpected.
    • 71 Metascore
    • 80 Critic Score
    It’s taut, creepy, compelling and sexy. And, apart from the location, it’s very much a Dolan film, focused on people testing the limits of their love for each other – and themselves.
    • 79 Metascore
    • 80 Critic Score
    This unnerving and enigmatic debut feature from Israeli director Nadav Lapid trains its steely focus on the group dynamics of the cops and robbers rather than asking us to get swept along in the specifics of their violence travails.
  85. [A] wickedly funny black comedy, all fatalism and gallows humour, with both a beating heart and an inquiring mind lingering beneath its tough-guy bluster.
  86. We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.
  87. Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.
  88. After a shaky start, Bad Neighbours blossoms, with inspired visual gags in excellent poor taste.
  89. As arthouse coming-of-age films go, this is brilliant – smart and sensitive with a screw-you feminist streak. And it’s beautifully acted by two first-time actresses playing Eka and Natia, who have been friends forever.
  90. Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.

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