Time Out London's Scores

  • Movies
For 1,119 reviews, this publication has graded:
  • 47% higher than the average critic
  • 5% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Assault on Precinct 13
Lowest review score: 20 Vendetta
Score distribution:
1119 movie reviews
  1. A nagging sense of incompleteness means that Civil War isn’t quite as satisfying as the first ‘Avengers’ (it’s all building up to the ‘Infinity War’ two-parter in 2018). But overall, this is Marvel at their best: a pacey, intelligent super-sized blockbuster and a roaringly fun night out.
  2. Even after The Hurt Locker and Zero Dark Thirty, this brings us chillingly closer to the real story of the post-Iraq shitstorm.
  3. As a portrait of power gained and lost, of unchecked self-absorption and what drives people like Assange to do what they do, it’s absolutely fascinating. Watching it feels like history unfolding in close-up.
  4. Some accuse the filmmaker of being just like the politicians who turn up, look around and do nothing. It adds a confrontational edge to the film’s already startling combination of immersive aesthetics and humane empathy.
  5. If you’re the person who watches weepies with a cynical curl of the lip, this isn’t the film for you. Everyone else, prepare to have your heartstrings plucked.
    • 83 Metascore
    • 80 Critic Score
    The plot, concerning the battle of wits between an honest cop and an ambitious politician for possession of the key witness in a Mafia exposé, is serviceable but nothing special. But the action sequences are brilliant, done without trickery in real locations (including a great car chase which spawned a thousand imitations) to lend an extraordinary sense of immediacy to the shenanigans and gunfights.
    • 80 Metascore
    • 80 Critic Score
    The cautious chemistry between the three characters means the atmosphere is never less than taut, and it provides the perfect launchpad for a tense, poignant finale that marks Fingleton out as a name to watch.
  6. Gorgeous and haunting, this is a tantalising introduction to Pamuk’s work.
  7. What a stupendously entertaining ride it is. Director and former stuntman Chad Stahelski is back in the director’s chair, and he knows his craft inside out: every punch lands hard, every gunshot roars like thunder.
  8. This Jungle Book has the bare necessities, and then some.
  9. A stop-gap tale that’s modest, fun and briefly amusing rather than one that breaks new ground or offers hugely memorable set pieces.
    • 71 Metascore
    • 80 Critic Score
    Perhaps understandably, it’s slightly scrappy and can feel a little like an overextended TV sketch in places. I laughed hard – feeling like a bit of a sicko – but you might find it plain nasty.
    • tbd Metascore
    • 80 Critic Score
    It’s a frank and moving exploration of family, faith and the conflict between cultures and generations.
    • 64 Metascore
    • 80 Critic Score
    About blood, blood ties and breakdown (of familes, relationships and, perhaps, an entire society), it's an idiosyncratic film, admired by many for its strong atmosphere, and by this writer for its absurd(ist) casting of a barely recognisable Fonda as Donovan's mad uncle Van Helsing.
  10. Eschewing metaphor and mysticism (save insofar as his characters adopt them), [Dumont] has for once given us a film of immense visual beauty, thematic clarity and subtle resonance.
  11. Raw
    Watching Raw is a bit like seeing a toddler crawl toward a four-lane highway. You can’t tear your eyes away, but at same time you want to squeeze them shut. This is a film that doesn’t just put you through the wringer; it scrapes your insides out. It left me trembling for hours.
  12. It’s all presented as a playful cinematic puzzle by director Eskil Vogt’s confident direction and mischievous humour.
  13. What a knotty, frighteningly real drama The Hunt is.
  14. 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.
  15. 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.
  16. Director Athina Rachel Tsangari keeps things brisk, maintaining an almost nature-doc distance from her subjects. Her affection for them is plain, but that doesn’t mean she lets them off the hook.
    • 68 Metascore
    • 80 Critic Score
    With their unerring eye for potential, the distributors didn't release this hilarious black comedy to cinemas in Britain. Zemeckis subsequently went on to make Romancing the Stone, Back to the Future, Who Framed Roger Rabbit and loadsa money. Infinitely more caustic than these blockbusters, Used Cars runs on a contemporary screwball motor with a slapstick chassis
  17. The Guest is not new, exactly, but Wingard knows just which buttons to push, and he pushes them with gusto. Stevens, meanwhile, has never been better.
  18. It's a terrifically moving film that has a fitting earthbound feel to it.
  19. It’s hugely entertaining.
  20. This is a simple, sweet tale about the basic pleasures of home and hearth, rendered unflashily in a delightful style of hand-drawn animation that employs a beautiful array of warm pastel colours.
  21. This intimate documentary about the leftfield American filmmaker David Lynch is insightful and absorbing.
  22. Pan
    This Pan is loud, colourful, busy and full of ideas. Not all those ideas work in sync – but most are bold and some are winningly eccentric.
    • 70 Metascore
    • 80 Critic Score
    Director Noyce's bravura camerawork conspires with Terry Hayes' spare script (adapted from the novel by Charles Williams) and some edgy cutting to exploit every ounce of tension, right down to a killer ending.
  23. If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.

Top Trailers