Time Out London's Scores

  • Movies
For 528 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Lowest review score: 20 Child 44
Score distribution:
  1. Negative: 17 out of 528
528 movie reviews
  1. 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.
  2. It’s a film that moves to the convincing rhythm of real life.
  3. 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.
  4. 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.
  5. It’s all rather charming, though, since leading man Schilling remains affable while never underselling this kindly yet feckless dropout’s sheer spinelessness.
  6. 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.
  7. The pressure for minimalist Simons to succeed in the ultra-feminine world of Dior is intense.
  8. 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.
  9. The performances are solid, even if the age difference between the two female leads may strike some as a little disconcerting.
  10. 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).
  11. 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.
  12. This philosophical war film is impressive and thought provoking but it’s also too restrained and pensive to ever completely connect.
  13. 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.
  14. Moretz is unnervingly talented, but Carrie is not a role she was born to play. She hasn’t a victim’s bone in her body and fluffs the early scenes when the mean girls pick on her.
  15. If you’ve never been to a burlesque show, now you know what you’re missing. The dedication and warmth of the performers are infectious.
  16. There are no interviews, characters nor narration, and after an hour it can feel like a chore. Yet the images are staggering.
  17. 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.
  18. This is an unambitious, old-school thriller, nothing more and nothing less.
  19. It’s a thoughtful, well-acted and perceptive drama. However, for a film about a love triangle the sparks don’t exactly fly.
  20. It’s undeniably entertaining – and worth seeing for Kingsley alone – with the misfires never fully overshadowing the moments of glory.
  21. This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.
  22. There’s enough sly wit in the margins to engage the grown-ups and the whole thing conveys Christmas cheer without being overly cynical.
  23. Mirren’s performance movingly evokes the travails and rewards of seeking an accommodation with a nightmare past. Yet the clunky, often superficial movie around her tames the anger and anguish of memory in favour of a well-meaning but pat, feelgood ‘prestige’ product.
  24. 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.
  25. Give Northern Soul its due: this feisty, frequently amusing chronicle of one young man’s journey through the dancehalls of Lancashire nails its time and place.... A pity, then, that the story is so tiresomely familiar.
  26. Softley negotiates layers of deceit with skill, but an uncharacteristic visual and narrative tightness leaves one wondering what might have been.
  27. 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.
  28. The chassis may be slick and speedy, but under the hood Focus lives up to its Ford-produced namesake: sturdy but not exactly stimulating.

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