Time Out London's Scores

  • Movies
For 503 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 20 Diana
Score distribution:
  1. Negative: 17 out of 503
503 movie reviews
  1. 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.
  2. Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),
  3. The 3D effects are dazzling, but the script creaks and the characters are thin.
  4. It has a rigorous, even unrelenting, grey, green and brown palette and, narratively, it’s tough to penetrate.
  5. The film is frantic and silly and our biggest gripe is that all the penguins look the same.
  6. It’s disappointing when Starred Up begins to lapse into soapy cliché.
  7. A charismatic performance from Downey Jr and the growling presence of Duvall makes up for a multitude of sins in this big and brash family drama that puts the heavy emphasis on drama over family.
  8. There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.
  9. There’s only so many times an audience will fall for the same manipulative editing tricks. Still, with fine performances and a rich sense of place, this is a promising start.
  10. The film does approach Milius with a certain reverence, but it can’t disguise the fact that he’s a troubling, divisive figure: bull-headed, almost cartoonishly macho, staunchly right-wing and dangerously self-obsessed.
  11. The joke wears a bit thin and performances vary: this isn’t as slick as the teen movies it draws from, such as ‘Clueless’ and ‘Mean Girls’. But an original premise and earnest tone go a long way.
  12. It’s an uneven work, mysterious in its refusal to tell us much at all about Daniel, but it has a ring a truth to it even when it slips into less enigmatic thriller territory.
  13. What keeps this out of Nicholas Sparks bumper-paperback territory are terrific performances and Reitman’s control of the drama.
  14. This story of humanity manifesting itself in unexpected circumstances just doesn’t have enough surprises on offer to make good on that early promise. A noteworthy debut nonetheless.
  15. If you enjoy improbable plot twists, overcooked dialogue and Hollywood legends champing on scenery, this adaptation is a highly entertaining slice of American Gothic.
  16. There’s a pleasing no-frills tone to the whole enterprise as well as a convincing grasp of the rituals and beliefs of the age.
  17. 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.
  18. It’s a film that moves to the convincing rhythm of real life.
  19. The characters could use more depth – Vincent’s backstory is told too swiftly, and his bonding with Ava is brief. But it’s still a smart, thought-provoking little thriller with strong central performances.
  20. Dante plays the early scenes perfectly, racking up the clammy dread without tipping over into outright nastiness. But somewhere along the way, the tension dissipates.
  21. It’s all rather charming, though, since leading man Schilling remains affable while never underselling this kindly yet feckless dropout’s sheer spinelessness.
  22. 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.
  23. The pressure for minimalist Simons to succeed in the ultra-feminine world of Dior is intense.
  24. There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.
    • 56 Metascore
    • 60 Critic Score
    A film that doesn’t quite blow the lid off the sugar bowl, but ought to keep pop-science fans sweet.
  25. The performances are solid, even if the age difference between the two female leads may strike some as a little disconcerting.
  26. This ridiculous, highly watchable, at points startlingly psychedelic action thriller is probably Luc Besson’s best film since ‘Léon’ (which isn’t saying a great deal).
  27. The writing and direction lean towards the obvious, but there’s much to chew on regarding tradition, progress and the power of the white lie.
  28. This philosophical war film is impressive and thought provoking but it’s also too restrained and pensive to ever completely connect.
  29. In Firth’s every grimace and flinch you feel the torment of Lomax’s private world, but emotionally ‘The Railway Man’ feels trimmed and tidied up.

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