Time Out London's Scores

  • Movies
For 397 reviews, this publication has graded:
  • 45% higher than the average critic
  • 5% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Night of the Hunter (re-release)
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Negative: 15 out of 397
397 movie reviews
  1. Complications escalate to a tiresome degree, leeching the fun from the movie, which is slung together with cold competence (and not much more) by jobbing Icelandic maverick Baltasar Kormákur.
    • 33 Metascore
    • 40 Critic Score
    It’s a potent mix for young fans that gets off to an entertaining, action-packed start with bursts of knowing humour. But it’s soon bogged down by an increasingly convoluted plot, an overindulgent running time and absurd dialogue.
  2. It doesn’t even qualify for dumb fun.
  3. The students keep filming when it is insane to do so, and an avalanche of speculative tosh smothers everything except our mocking laughter.
  4. From the opening voiceover to the out-of-their-heads party scenes, it’s utterly generic.
  5. The film overdoes it with the awkward, unconvincing re-enactments, many starring the director himself. The result will amuse hardcore Cash fans, but few others.
  6. The aliens are unscary and easily despatched, Vin’s too silent to be interesting, and the other characters – a gang of bounty hunters on Riddick’s trail – are either dull or offensive.
  7. Instead of developing the story’s wartime context, Trueba and veteran screenwriter Jean-Claude Carrière offer passing reflections on the relationship between observation and the largely mental process of creativity, but little that ignites genuine drama.
  8. Yet just when the movie has us in its grasp, the script falls to pieces and turns into a crass female-in-peril button-pusher whose shameless psycho-killer clichés insult the intelligence.
  9. Sadly, much as we want to relish the shameless parade of cartoon violence, while indulging the equally shameless cavalcade of adolescent sexism, the soggy plotting and slack comic timing are downers.
  10. Escape Pla’ would have made a perfect vehicle for, say, a Chuck Norris or even a Jean-Claude Van Damme. But these two redoubtable, enormously watchable old-school heroes deserve better.
  11. This anime feature takes an intriguing premise and does little with it. The detailed Ghibli-esque visuals are decent enough, but this is disappointingly bland.
  12. As the sexual, financial and criminal shenanigans get ever more complicated, absurd and melodramatic, the film becomes increasingly tiresome; it’s not even possible to enjoy its excesses in a ‘so bad it’s good’ way.
  13. There are a couple of bawdy sight gags that hit the mark, although the outtakes in the end credits provide the film’s funniest moments. The cast and crew appear to have had a ball making it, at least.
  14. This is tame, lifeless stuff.
  15. At least Cameron Diaz gives it some welly as the gold-toothed femme fatale who may or may not hold all the cards.
  16. There are only so many scenes anyone can take of Law (never suited to the geezer role) strutting down streets shooting his gob off. If it was all in service of a smart story, so be it. But it isn’t.
  17. Like so many campaigning doc-makers he’s much more interested in throwing darts at the other guys – the anti-nuclear brigade (who have better slogans: ‘Hell, no, we won't glow’) – than giving us a balanced film.
  18. A potentially gripping study of the fallout from the JFK assassination as experienced by his doctors, secret service agents and the man who famously photographed the incident is rendered tame by a combination of flat writing and overly busy storytelling.
    • 40 Metascore
    • 40 Critic Score
    Director Sung-su Kim doesn’t spend long explaining how the heck this ravenous form of avian flu has come about, concentrating instead on the chaos as the epidemic spirals out of control.
  19. It’s a shame, because there’s a good, solid documentary to be made about this fascinating, enormously talented, slightly self-congratulatory little man and his unmistakeable ouevre.
  20. Devil’s Due spends far too much time on home movie footage of likeable newlyweds Zach (Zach Gilford) and Samantha McCall (Allison Miller), while neglecting to scare the bejesus out of us.
  21. This feature-length Mr Peabody and Sherman is by no means unbearable: there are a few decent gags, and the episodic plot just about manages to hold the interest. But there’s little here for any but the most easy-to-please youngsters.
  22. When the best one can say about a movie is that it’s pyrotechnically impressive, something important is missing. In this case it’s tension, originality and memorable characters.
  23. After a creaky, clichéd start, Need for Speed picks up a bit. The script is still as corny as hell, but the chase scenes are pretty spectacular.
  24. The novel A Long Way Down is not-quite-vintage Nick Hornby. And this is a disappointing film version, a bit hokey and fake.
  25. Sadly, this polite film, though touching in places, is so desperate not to offend, it’s the film equivalent of sensible shoes. Diehard fashionistas may disagree.
  26. This microbudget indie about a pair of brothers in small-town USA looks great, sports strong performances and doesn’t outstay its welcome. But it’s impossible to shake the feeling that we’ve seen all this before, and better.
  27. There are a couple of decent jumps and a few giggles, but nothing armrest-clenchingly scary about The Quiet Ones.
  28. If you make it as far as the obvious, disappointing denouement, you might be left asking yourself if the filmmakers’ abstract style is better suited to short films.

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