Time Out London's Scores

  • Movies
For 723 reviews, this publication has graded:
  • 47% higher than the average critic
  • 7% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Only Yesterday (1991)
Lowest review score: 20 The Last Witch Hunter
Score distribution:
  1. Negative: 23 out of 723
723 movie reviews
  1. This isn’t quite tense or funny enough to become the masterpiece some Hawks lovers claim. But it is smart, incisive and often very funny.
  2. It’s not a pretty story, but its warmth lies in its fondness – love, even – for the two boys at its heart.
  3. After a shaky start, Bad Neighbours blossoms, with inspired visual gags in excellent poor taste.
  4. Its various riffs on codes, whether moral, sexual, societal or German, are plain to see rather than enigmatic or enlightening. Luckily it’s all anchored in a storming performance from Cumberbatch: you’ll be deciphering his work long after the credits roll.
  5. It’s no masterpiece, but it’s slick and tense, and the camerawork has something of the in-the-moment, on-the-ground immediacy of the French New Wave films.
  6. As arthouse coming-of-age films go, this is brilliant – smart and sensitive with a screw-you feminist streak. And it’s beautifully acted by two first-time actresses playing Eka and Natia, who have been friends forever.
  7. An intimate, warm embrace of a film, it radiates joy and harmony despite playing out entirely in the shadow of a difficult father's death.
  8. Mostly, Zoolander 2 hits the mark with style. Just don’t expect anything too deep.
    • Time Out London
  9. Scorsese never digs too deeply under the skin of these reprehensible playboy douchebags, and there are times where the swooping photography, smash-and-grab editing and toe-tapping soundtrack conspire to almost – almost – make us like them. But when the film’s cylinders are firing, it’s impossible not to be dragged along.
  10. Role Models isn’t trying to reinvent the wheel, just polish it up a little. What emerges is a memorable slice of modern slapstick, with charm to spare and just a touch of soul.
  11. This painful, beautiful doc chronicles the fightback.
  12. [A] wickedly funny black comedy, all fatalism and gallows humour, with both a beating heart and an inquiring mind lingering beneath its tough-guy bluster.
  13. Baldwin and Toback make a snappy comic duo, and half of their talks with a line-up of luminaries focus on the art of filmmaking rather than the business.
  14. Occasionally baggy, always sincere, this is an essential document of a defining era when ‘soul’ really meant something.
  15. Far from Men is a character study — a two-hander expertly acted by Mortensen and Kateb (best known for the terrific French cop show Spiral).
  16. The fictional character Huppert creates is simply so lived-in and plausible that to insist Michele react differently to her own lived experience would be as obstinate as insisting that a person in real life cannot possibly feel the way that they say they feel. Whatever your take, it's a film that will inspire debate for decades to come.
  17. When the film gets outdoors, it soars, and Ceylan continues to dig with acute intelligence into the dark corners of everyday human behaviour.
  18. It’s a dour, at times glacial film that perhaps takes itself just a little too seriously, but it’s also grimly convincing and, in a remarkable final scene, shockingly effective.
  19. This is a woman who has been through hell and come out kicking, and the result is as much a celebration of her life as it is a documentary.
  20. As the actors move fluidly between various states, shedding one skin while assuming another, Polanski makes this subversive parlour game matter.
  21. Politics and entertainment are never an easy mix, and Jimmy’s Hall is a familiar, slightly unsurprising coming together of the two from Loach and his writer Paul Laverty. Sometimes you can see the joins, but there’s also great warmth, charm and humour among the ideas, and the sense of time and place is especially strong.
  22. In the end, the characters are more lasting than the story, which is a standard save-the-city-from-destruction yarn. But this crew is a riot, and their world is intriguing and even a little meaningful.
  23. Director and co-writer Diego Quemada-Díez condenses many acute observations about life as an emigrant into a sure-footed, credible story.
  24. Tale of Tales might lack magic in the immediate, flashy sense, but its strange spell is altogether seductive and special.
  25. It might be familiar territory for Almodóvar, but only a master of his art could make it look so easy.
  26. This is a portrait of cycles and change. But the mood of the film suggests that we should be impressed that this ever-growing, ever-changing city of ours is still chasing after new versions of the modern.
  27. It works and then some, making for a noirish and complex emotional thriller. And Hoss is incredible, playing Nelly with the shuffling gait and haunted expression of a dead woman walking.
  28. The movie manages to shift sensitively from laugh-out-loud moments to tear-jerking scenes, discussing euthanasia on the way. It’s not perfect, but the novel’s five million readers have nothing to worry about: it’s totally loyal to the book (unsurprisingly since Moyes wrote the script).
  29. At once compassionate, engrossing from start to finish, and utterly relevant.
  30. Director Stephen Frears sketches out her tragic backstory, and Streep in grande dame mode is not to be missed.

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