Time Out London's Scores

  • Movies
For 435 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Great Beauty
Lowest review score: 20 Diana
Score distribution:
  1. Negative: 15 out of 435
435 movie reviews
  1. There are no interviews, characters nor narration, and after an hour it can feel like a chore. Yet the images are staggering.
  2. 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.
  3. This is an unambitious, old-school thriller, nothing more and nothing less.
  4. It’s a thoughtful, well-acted and perceptive drama. However, for a film about a love triangle the sparks don’t exactly fly.
  5. It’s undeniably entertaining – and worth seeing for Kingsley alone – with the misfires never fully overshadowing the moments of glory.
  6. This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.
  7. There’s enough sly wit in the margins to engage the grown-ups and the whole thing conveys Christmas cheer without being overly cynical.
  8. Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.
    • 75 Metascore
    • 60 Critic Score
    What you take from Miss Violence depends both on your stomach for this kind of brutality, and whether you appreciate its cold, mannered formalism – one viewer’s stylistic tour de force is another’s grating Haneke pastiche. Still, this is punchy stuff.
  9. Softley negotiates layers of deceit with skill, but an uncharacteristic visual and narrative tightness leaves one wondering what might have been.
  10. 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.
  11. The chassis may be slick and speedy, but under the hood Focus lives up to its Ford-produced namesake: sturdy but not exactly stimulating.
  12. Vikander’s spellbinding, not-quite-human presence (her synthetic skin is silky yet creepy) keeps us watching. But an only-too-obvious ‘twist’ and some clunky plotting...drain much of the credibility from a story which promised so much.
  13. Luckily, there are just enough truths about ageing beneath its corny, farcical surface. Also, it’s hard not to enjoy two hours in the company of this cast.
  14. The Water Diviner is solid and old-fashioned.
  15. Wade’s dialogue is totally convincing, all in-jokes and boarding school banter... The trouble with The Riot Club is that dramatically it never quite comes together.
  16. Thematically, White Elephant is a vague animal and its true interest never truly comes into focus.
  17. The sheer sense of ludicrous, punch-the-air joie de vivre is impossibly infectious.
  18. If the crime element feels like little more than a red herring, it’s the characters that give the film its appeal.
  19. Despite much old-school splatter, it’s seldom frightening and oddly unfunny.
  20. The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
  21. There are no great upsets or fireworks here, just a tender sketch of what it means to (probably) be gay as a school kid. The storytelling style is as inoffensive as the music (Arvo Pärt, Belle and Sebastian), and the performances are amiable and relaxed.
  22. The unusually extended shooting period and Winterbottom’s decision to cast siblings as the kids make for a strangely intimate and powerful depiction of time passing and the peaks and troughs of childhood.
  23. Taken 3 scores over its predecessor on almost every level: the stakes are higher, the LA locations are nicely photographed and, best of all, there’s an actual plot, with twists and everything.
    • 43 Metascore
    • 60 Critic Score
    [Redemption] doesn’t always work but wins points for originality.
  24. 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.
  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 très chic and charming but a bit disappointing when you see where it's headed.
  27. It’s impressive but not dazzling.
  28. A little too rough around the edges to fully engage.

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