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. This slapdash but endearing doc about the rise, fall and resurrection of '80s pop outfit Spandau Ballet is an inside job, packed with strong archive footage yet lacking anything you'd call truly incisive.
  2. Like Restrepo, this troubling and thoughtful documentary asks tough questions.
  3. 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.
  4. Hats off to Viggo Mortensen. He pulls off playing identical twins in this Argentinian thriller, which never quite lives up to his talents.
  5. Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.
  6. Anchorman 2: The Legend Continues is not the disaster some feared it might be, but neither is it the endlessly quotable, deliciously idiotic follow-on so many of us were optimistically anticipating.
    • 40 Metascore
    • 60 Critic Score
    It’s formulaic, but also largely entertaining, quite touching, occasionally amusing and competently animated.
  7. Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.
  8. 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.
  9. A solid watch for gore fans.
  10. It’s hardly high art, but for a cheapjack homegrown action flick this is surprisingly solid.
  11. The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.
  12. There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
  13. Luckily, Jackson’s singular talent for massive-scale mayhem hasn’t deserted him, and the hour-long smackdown that crowns the film gives him ample opportunities to indulge it.
    • 60 Metascore
    • 60 Critic Score
    Rousing as a tale of saintly gays against the system, Any Day Now is less stirring as cinema.
  14. Jolie has assembled an A-list team – Roger Deakins behind the camera, the Coen brothers in charge of the script - but while her film is perfectly competent, it hardly dazzles.
  15. Whedon has revealed that his first cut ran for well over three hours, and it shows: Ultron feels excessively nipped and tucked, barrelling from one explosive set-piece to the next, leaving ideas half-formed and character motivations murky.
  16. The message to take home: put a pot of lavender on your windowsill. Save bees!
  17. There are times when it feels underpowered or unfocused... but this is an intelligent, sensitive debut.
  18. Janiak has succeeded in making what she calls ‘an elevated genre story’, yet much of its frightening psychological ambiguity is erased by a disappointingly conventional ending.
  19. The result is a fascinating – at times illuminating – tightrope act, but rarely an enjoyable one: for all its luminous outsider’s-eye photography and painstaking, perfectly pitched performances, both the film and its shivering heroine prove difficult to warm to.
    • 49 Metascore
    • 60 Critic Score
    What’s the opposite of warts-n-all? ‘No warts’ doesn’t even begin to describe Morgan Spurlock’s fly-on-the-wall film about One Direction. No warts, no acne – there’s not even a pimple on the butt of this on-tour portrait of the reality-bred boy popsters.
  20. From the moment a pair of workmen crack open a seventeenth-century plague pit and unleash the undead, Matthias Hoene’s lairy, gory zombie comedy delivers.
  21. Love, Marilyn blows out of the water the impression of Monroe as the helpless dumb blonde.
  22. 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.
  23. Heldenbergh and Baetens pull you in with committed performances ­– their raw pain and grief is totally believable. But all that honest, intense emotion is thrown away as the film outstays its welcome by 40 minutes or so, piling one tragedy on to another.
  24. Seyfried is fine but has little character depth to work with: Sarsgaard impresses with a more complex character, as does a barely recognisable Sharon Stone as Linda’s bitter mother. If only the whole film were as well-rounded.
  25. Into the Woods starts better than it finishes but it’s a great-looking film, with a nicely old-school, easy-on-the-CG feel.
  26. It’s all extravagantly daft, moves at a fair clip and is over before you expect it to be.
  27. The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.

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