Time Out London's Scores

  • Movies
For 484 reviews, this publication has graded:
  • 45% higher than the average critic
  • 5% same as the average critic
  • 50% 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 Two Days, One Night
Lowest review score: 20 That Awkward Moment
Score distribution:
  1. Negative: 17 out of 484
484 movie reviews
  1. 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.
  2. The chassis may be slick and speedy, but under the hood Focus lives up to its Ford-produced namesake: sturdy but not exactly stimulating.
  3. 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.
  4. 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.
  5. The Water Diviner is solid and old-fashioned.
  6. 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.
  7. Thematically, White Elephant is a vague animal and its true interest never truly comes into focus.
  8. The sheer sense of ludicrous, punch-the-air joie de vivre is impossibly infectious.
  9. If the crime element feels like little more than a red herring, it’s the characters that give the film its appeal.
  10. Despite much old-school splatter, it’s seldom frightening and oddly unfunny.
  11. The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
  12. 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.
  13. A tasteful grieving-family weepie, it's conceived and performed with utmost sincerity, yet lacks the intemperate human authenticity, the sense of profound strangeness in the everyday, that made Trier's ‘Reprise’ and ‘Oslo, August 31st’ so hard to shake.
  14. 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.
  15. 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.
  16. Yes, The Lobster is arch: this is cinema in quotemarks, tongue-in-cheek storytelling that uses absurdity to hold a mirror to how we live and love. At its best, it has incisive things to say about how we shape ourselves and others just to banish the fear of being alone, unloved and friendless.
    • 43 Metascore
    • 60 Critic Score
    [Redemption] doesn’t always work but wins points for originality.
  17. 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.
  18. The film showcases Lea Van Acken’s remarkable central performance and director Dietrich Brüggemann’s adept control of a deliberately rigorous aesthetic.
  19. 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.
  20. It's très chic and charming but a bit disappointing when you see where it's headed.
  21. It’s impressive but not dazzling.
  22. A little too rough around the edges to fully engage.
    • 34 Metascore
    • 60 Critic Score
    The cat-and-mouse chase across the desert that follows is entertaining to begin with but unnecessarily drawn out, leaving far too much room for Douglas to plug with cartoonish quips and daft machismo.
  23. 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.
  24. 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).
  25. The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
  26. 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.
  27. Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.
  28. 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.

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