Time Out London's Scores

  • Movies
For 386 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Under the Skin
Lowest review score: 20 A Fantastic Fear of Everything
Score distribution:
  1. Negative: 15 out of 386
386 movie reviews
  1. It’s hugely entertaining.
  2. The film’s unwillingness to judge either the decent yet doubt-wracked pastor, or the damaged souls seeking a new start, effectively draws us in to a whole cluster of gnarly dilemmas, where humane intentions prove counter-productive and the truth only makes matters worse.
  3. While it definitely takes its foot off the action, Mockingjay – Part 1 goes deeper and darker.
  4. You’ll walk out of this electrifying documentary about the Arab Spring with your blood boiling.
  5. Even now at 50, Jarvis is a man who remains head-on crushable while dry humping an amp like your geography teacher on the Bacardi Breezers.
  6. This isn’t much more than a series of ridiculously dotty sketches, and might have worked better as a sitcom, but it’s surprisingly hilarious.
  7. The original footage – devastatingly intimate; familiar yet alien – still stops us in our tracks more than six decades later.
  8. It’s charmingly simple. But it also offers a sharp modern spin on Michael Bond’s London-set stories without being cynical.
  9. Black Sea runs a few fathoms short of classic status. But its blend of old-fashioned storytelling values and zeitgeisty relevance make it a worthy addition to sub-aquatic cinema’s nerve-juddering legacy.
  10. This is a whale of a movie, grotesque and a little bloated but impossible to ignore. Its power and its horrors sneak up on you.
  11. It’s undeniably entertaining – and worth seeing for Kingsley alone – with the misfires never fully overshadowing the moments of glory.
  12. From the moment a pair of workmen crack open a seventeenth-century plague pit and unleash the undead, Matthias Hoene’s lairy, gory zombie comedy delivers.
  13. The film’s said to be autobiographical, but that’s entirely left to us to guess.
  14. Thematically, White Elephant is a vague animal and its true interest never truly comes into focus.
  15. If the crime element feels like little more than a red herring, it’s the characters that give the film its appeal.
  16. Despite much old-school splatter, it’s seldom frightening and oddly unfunny.
  17. The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
  18. 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.
  19. A Hijacking’ is gripping in the way the best Danish TV is – in its no-frills authenticity.
  20. 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.
  21. Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),
  22. This philosophical war film is impressive and thought provoking but it’s also too restrained and pensive to ever completely connect.
  23. It’s breezy fun, touching lightly on illness and worse. Saying that, there’s a spot of intrigue as the tournament hots up.
  24. 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.
  25. 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.
  26. 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.
  27. Desplechin’s film is a modest but very passable affair.
  28. It's to Ozon's credit that he never serves up easy answers.
  29. 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.
  30. Hats off to Viggo Mortensen. He pulls off playing identical twins in this Argentinian thriller, which never quite lives up to his talents.

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