Time Out London's Scores

  • Movies
For 386 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 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Pride
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Negative: 15 out of 386
386 movie reviews
  1. This is a slicker, shinier, admittedly inferior affair. But with a strong cast, a roaring pace and at least one genuinely unforgettable scene, it’s by no means a write-off.
  2. There are some gorgeous Disney touches, rabble-rousing songs on the pirate ship and the usual ‘best friends for ever’ message.
  3. Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.
  4. In this heartfelt film, Fleifel shows us the human cost of the conflict.
  5. It’s all extravagantly daft, moves at a fair clip and is over before you expect it to be.
  6. Much of the film's impact stems from a pair of remarkable lead performances.
  7. There’s something rather bland about Veronica Mars – even the murderers have neat hair and nice clothes – and the largely forgettable cast don’t help. But the one-liners are sharp, the plot unpredictable and the whole thing ticks along with a minimum of fuss.
  8. Story aside, this is about the gags, songs and then more gags. On the upside, the jokes are great: the usual jolly mix of character humour, situation comedy, farce, satire and wordplay.
  9. It’s disappointing when Starred Up begins to lapse into soapy cliché.
  10. 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.
  11. What keeps this out of Nicholas Sparks bumper-paperback territory are terrific performances and Reitman’s control of the drama.
  12. 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.
  13. 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.
  14. The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.
  15. Ayoade tips his hat to so many other filmmakers and writers that he leaves little room to consider anything other than what a good job he’s doing of distilling all his references into an effective Pinterest board of paranoia and alienation.
  16. There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.
  17. 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.
  18. Half of a Yellow Sun bravely takes on too broad a canvas with too narrow a budget, but it’s a relevant saga that’s worth telling.
    • 40 Metascore
    • 60 Critic Score
    It’s formulaic, but also largely entertaining, quite touching, occasionally amusing and competently animated.
  19. 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.
  20. The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
  21. 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.
  22. 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.
  23. There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.
  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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.

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