Time Out London's Scores

  • Movies
For 445 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Lowest review score: 20 The Big Wedding
Score distribution:
  1. Negative: 17 out of 445
445 movie reviews
  1. 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.
  2. It's très chic and charming but a bit disappointing when you see where it's headed.
  3. It’s impressive but not dazzling.
  4. A little too rough around the edges to fully engage.
  5. An overlong, at times almost plot-free soap opera that introduces a wealth of characters and dips into a wide variety of subplots but never comes together as a story.
  6. 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).
  7. The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
  8. 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.
  9. Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.
  10. The film never works out how to generate genuine dramatic fire from its material. There are convincing performances and decorative retro detail to admire, but the heart needs to beat just that bit faster – and it doesn’t manage that.
  11. What marks out director Mike Newell and writer David Nicholls’s version is its impeccable acting.
  12. Ellis’s twisty plotting gets too clever-clever for its own good. But it’s pacy, engrossing, and Jake Macapagal’s turn as the plucky schmuck protagonist is stellar.
  13. 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.
  14. Never less than slick, precision-tooled multiplex entertainment, Kingsman hews close to the formula Vaughn and his co-writer Jane Goldman established in their superficially similar "Kick-Ass": hyperspeed action, pithy one-liners and grotesque ultraviolence.
  15. The film can’t match the novel’s elegant, startlingly excellent Booker-Prize-winning writing, but a first-class cast (including Charlotte Rampling and Sinéad Cusack) make this an absorbing watch.
  16. It’s all put together with a crisp confidence that suggests its writer-director will swiftly move on to bigger things.
  17. 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.
  18. The film’s said to be autobiographical, but that’s entirely left to us to guess.
  19. Desplechin’s film is a modest but very passable affair.
  20. Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.
  21. The problem with the film is that Potts’s life story has been put through the Hollywood meatgrinder. Awkward details have been changed or erased – they’ve made Potts Welsh (he grew up in Bristol) and eliminated his siblings.
  22. Cloying at times – but always good-natured.
    • 59 Metascore
    • 60 Critic Score
    At one point a character even ponders aloud that it’s probably best not to think too hard about how this ecology might work or whether it makes sense. Amen to that.
  23. In this heartfelt film, Fleifel shows us the human cost of the conflict.
  24. Willow Creek doesn’t take us anywhere new – the climax is abrupt and unsatisfying – but it’s a whole lot of jarring, juddering fun while it lasts.
  25. It falters once the actual war begins: Ben Kingsley shows up as a Maori warrior with the weirdest imaginable accent, the final battle is uninvolving, and there’s an unconvincing upbeat coda. Ender’s Game ends up being fitfully engaging and endearingly odd.
  26. There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.
  27. Pioneer delivers insidious, shadowy tension, while it’s genuinely surprising to find yourself so engrossed – story glitches notwithstanding – in key issues like compression sickness and divers’ gas supply.
  28. It’s anarchic, sometimes amusing, intermittently tedious, with ideas about digital alienation and the corruption of technology that too often feel blunt and tired.
  29. It’s as handsomely shot as any film about an ace shutterbug ought to be, and Binoche infuses familiar internal crises with palpable pain and urgency.

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