Time Out London's Scores

  • Movies
For 404 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% 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 The Night of the Hunter (re-release)
Lowest review score: 20 Insidious: Chapter 2
Score distribution:
  1. Negative: 15 out of 404
404 movie reviews
  1. Desplechin’s film is a modest but very passable affair.
  2. It's to Ozon's credit that he never serves up easy answers.
  3. 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.
  4. Hats off to Viggo Mortensen. He pulls off playing identical twins in this Argentinian thriller, which never quite lives up to his talents.
  5. 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).
  6. There’s something a bit over-familiar here – in a solidly entertaining, made-for-telly, nothing-we-haven’t-seen-before, way.
  7. 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.
  8. 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.
  9. No comedy classic, then, but a good natured and engaging slice of goonish self-mockery.
  10. 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.
  11. 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.
  12. This is an unambitious, old-school thriller, nothing more and nothing less.
  13. This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.
  14. 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.
  15. 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.
  16. There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.
    • 49 Metascore
    • 60 Critic Score
    What’s the opposite of warts-n-all? ‘No warts’ doesn’t even begin to describe Morgan Spurlock’s fly-on-the-wall film about One Direction. No warts, no acne – there’s not even a pimple on the butt of this on-tour portrait of the reality-bred boy popsters.
  17. Seyfried is fine but has little character depth to work with: Sarsgaard impresses with a more complex character, as does a barely recognisable Sharon Stone as Linda’s bitter mother. If only the whole film were as well-rounded.
  18. A solid watch for gore fans.
  19. The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.
  20. As a study in human greed this is shocking, but as this thorough, convincing, if slightly stodgy film makes clear, it’s also a moment to mobilise public opinion and shape change.
  21. It's très chic and charming but a bit disappointing when you see where it's headed.
    • 60 Metascore
    • 60 Critic Score
    Rousing as a tale of saintly gays against the system, Any Day Now is less stirring as cinema.
  22. The message to take home: put a pot of lavender on your windowsill. Save bees!
  23. The outcome may be pre-ordained, but Emmerich’s knack for a witty pop-culture reference, a pulse-pounding gun battle or a sneaky political undercurrent (the film has drawn fire in the US for being leftie propaganda) hasn’t deserted him.
  24. It’s anarchic, sometimes amusing, intermittently tedious, with ideas about digital alienation and the corruption of technology that too often feel blunt and tired.
  25. You’ll be left scratching your head wondering what a naked girl draped in a purple net curtain in a cemetery has got to do with frocks. Not many revelations here.
  26. What marks out director Mike Newell and writer David Nicholls’s version is its impeccable acting.

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