Time Out London's Scores

  • Movies
For 460 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% 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: 62
Highest review score: 100 45 Years
Lowest review score: 20 The Big Wedding
Score distribution:
  1. Negative: 17 out of 460
460 movie reviews
  1. 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.
  2. The cliché-averse will doubtless resist, but the laughter and tears here are never less than fully earned. A lovely film.
  3. The story is a bit predictable and rough around the edges. But it’s heart-on-the-sleeve sweet.
    • 91 Metascore
    • 80 Critic Score
    Sissako’s methods are confrontational, yet never to the point that you feel you’re watching sacrificial lambs instead of people caught in a horrible situation. In this terrible context, madness and death are blessings. It’s living that’s the curse.
  4. Ultimately story is secondary to Russell’s delicious detailing of character and milieu.
  5. The effect is talismanic: overlaid by a thoughtful voiceover, it invites the audience to share the pain in a cathartic act of imaginative reclamation.
  6. 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.
  7. 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.
  8. Catching Fire looks and feels epic. Hands down it’s one of the most entertaining films of the year.
  9. Rush is fast, slippery, stormy and dangerous.
  10. Maybe an hour would have been enough, but even the slower patches have charm to burn.
  11. Bell goes easy on the preaching and heavy on the laughs without losing her feminist message.
  12. At times, you ache to put the brakes on the chaos, but still Pixar manages to do with all this what they do best, turning the everyday rough and smooth of childhood experience into a thoughtful, inventive adventure, full of totally appropriate lurid and strange imagery.
  13. 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).
    • 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.
  14. The casting of comedian Koechner as the sleazy host is a masterstroke, but all four actors relish the salty dialogue and farcical cruelty, as the film moves towards a bleak but satisfying ending.
  15. This is easily Coppola’s funniest film. Leslie Mann is hilarious as Nicki’s phony spiritual mum.
    • 71 Metascore
    • 80 Critic Score
    It can be very funny, but there’s a bittersweet streak underpinning even the lightest moments.
  16. Everyone has a different story. I found myself holding my breath listening to them talk. The story twists like a thriller.
  17. 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.
  18. 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.
  19. You won’t know whether to laugh or cry.
  20. The LEGO Movie is sheer joy: the script is witty, the satire surprisingly pointed and the animation tactile and imaginative.
  21. Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.
  22. 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.
  23. 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.
  24. Her
    Her is a keeper of a film, quietly dazzling.
  25. 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.
  26. It’s infuriatingly irresistible.
  27. 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.

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