Time Out London's Scores

  • Movies
For 331 reviews, this publication has graded:
  • 47% higher than the average critic
  • 5% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 0.6 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: 15 out of 331
331 movie reviews
  1. 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.
  2. The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
  3. 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.
  4. 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.
  5. There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.
  6. 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.
  7. First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.
    • 57 Metascore
    • 60 Critic Score
    The Stag is formulaic and schmaltzy, and its endless gay jokes jar with its warm-hearted message – but it coasts along on an undeniable likeability.
  8. 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.
  9. 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.
  10. There’s plenty to enjoy – a handful of smart one-liners, a few nifty shocks and one truly unsettling confrontation in a cemetery – but nothing to give Joss Whedon a run for his money.
  11. The film’s blanket refusal to question its subject feels not only cowardly, but antithetical.
  12. The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.
  13. Stick with it and writer/director Alice Rohrwacher’s first feature reveals another side: taking a small town as a microcosm of Berlusconi’s something-rotten-at-the-core Italy.
  14. What stops David Cronenberg’s grotesque noir Maps to the Stars, written by LA insider Bruce Wagner, from feeling tired is that it’s deliciously odd.
  15. Like Restrepo, this troubling and thoughtful documentary asks tough questions.
  16. 22 Jump Street knows how to play to its strengths: Tatum’s performance here is even more puppy-dog lovable than last time, and his scenes with Hill possess a goofy, low-key warmth too often lacking in big-budget comedy.
  17. There’s a lack of subtlety or surprise which serves the story poorly... That said, it’s a thoughtful, timely, often quietly captivating drama.
  18. As with all of West’s work this is a good-looking, well acted film shot through with moments of real power, but its conventionality is troubling.
  19. Sometimes you find yourself wishing for an alternative version of the film unfolding before your eyes. ‘Belle’ is a good-looking and exceedingly polite film where perhaps a more complex one with less good manners would have been better.
    • 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.
  20. Hats off to Dreamworks for offering some bold surprises in a respectable sequel filled with moments of humour and emotion among its ample noise and movement.
  21. It’s a film that moves to the convincing rhythm of real life.
  22. Using home-video footage and talking-head interviews, Dinosaur 13 dramatically depicts the thrill of archaeological discovery. But the overbearing soundtrack and shots of weeping palaeontologists do feel a touch manipulative.
  23. Folman’s vision is just too personal and obtuse, and the result can feel rather like watching someone else drop acid, enjoying their giddy descriptions of all the pretty colours but unable to fully engage.
  24. 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.
  25. There are times when it feels underpowered or unfocused... but this is an intelligent, sensitive debut.
  26. It’s impressive but not dazzling.
    • 29 Metascore
    • 40 Critic Score
    The standard of acting is poor beyond belief. What happened to Grant’s career that he should be in the likes of this?
  27. With some dire blue-screen effects, dizzying tonal instability and a total absence of suspense or originality, "Wolverine" is something of a disaster.

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