Time Out London's Scores

  • Movies
For 345 reviews, this publication has graded:
  • 47% higher than the average critic
  • 6% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Lowest review score: 20 The Family
Score distribution:
  1. Negative: 15 out of 345
345 movie reviews
  1. If the crime element feels like little more than a red herring, it’s the characters that give the film its appeal.
  2. Despite much old-school splatter, it’s seldom frightening and oddly unfunny.
  3. The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
  4. Don’t tell Liam Neeson, but someone had the gall to make a violent Euro-thriller about a rampaging American dad without him. And not a bad one either.
  5. A Hijacking’ is gripping in the way the best Danish TV is – in its no-frills authenticity.
  6. Mud
    It’s a broader, starrier project than either of Nichols’s previous films, and he handles the transition to the major league with relative confidence.
  7. Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),
  8. This philosophical war film is impressive and thought provoking but it’s also too restrained and pensive to ever completely connect.
  9. It’s breezy fun, touching lightly on illness and worse. Saying that, there’s a spot of intrigue as the tournament hots up.
  10. There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
  11. Beyond the shocks and games, there's not a great deal to take away in the form of meaty ideas or lingering themes, and its catchy premise doesn't really deliver in the end.
  12. It’s Bruni Tedeschi’s sure grasp of the milieu – and in particular her acute understanding of the specific foibles of a rich, arty but out-of-touch class nostalgic for an earlier era – that makes the film a modest but surprisingly substantial delight.
  13. Desplechin’s film is a modest but very passable affair.
  14. It's to Ozon's credit that he never serves up easy answers.
  15. What Luhrmann makes intoxicating is a sense of place – the houses, the rooms, the city, the roads – and the sense that all this is unfolding in a bubble like some mad fable. Where he falters is in persuading us that these are real, breathing folk whose experiences and destinies can move us.
  16. Hats off to Viggo Mortensen. He pulls off playing identical twins in this Argentinian thriller, which never quite lives up to his talents.
  17. The result looks less like a horror flick and more like a thinking man’s action-thriller – the ‘Newsnight’ of zombie films (you’ll know if that’s your cup of tea).
  18. There’s something a bit over-familiar here – in a solidly entertaining, made-for-telly, nothing-we-haven’t-seen-before, way.
  19. Luckily, Hawke and Delpy remain as charming as ever, and their combined goofiness is more endearing than annoying. Winning, too, is the sense that this peculiar project, though imperfect, could grow old with its audience and its cast.
    • 43 Metascore
    • 60 Critic Score
    [Redemption] doesn’t always work but wins points for originality.
  20. Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.
  21. No comedy classic, then, but a good natured and engaging slice of goonish self-mockery.
  22. If Del Toro is pitching for an audience of 12-year-old boys (and we do mean boys: this is old-school macho), he’s done a bang-up job. Still, there are times when Pacific Rim could be the work of any jobbing Hollywood director – the warmth and idiosyncracy that characterises Del Toro’s finest work, from Pan’s Labyrinth to Hellboy 2, is absent.
  23. If its script is a little unwieldy and overwrought at times, Broken is still a work of delightful moments and strong promise for many of those involved. Norris works hard to inject some joy and wonder into what could easily be a much more dark and miserable experience.
    • 34 Metascore
    • 60 Critic Score
    What isn’t so charming is Azaria’s irritatingly over-egged impersonation of the Child Catcher in ‘Chitty Chitty Bang Bang’ – that and the headache-inducing 3D.
  24. This is an unambitious, old-school thriller, nothing more and nothing less.
  25. This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.
  26. The film has plenty to recommend it, thanks to a string of memorable one-liners and Coogan’s unmatched knack for skin-crawling physical comedy. But this is a long way from the back-of-the-net strike it should have been.
  27. The best thing about ‘Kick-Ass’ was Moretz, and Hit-Girl still gets the best lines. Like the first film, Kick-Ass 2 pulls the reality of teen life into its fantasy.
  28. There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.

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