Time Out London's Scores

  • Movies
For 459 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 20,000 Days on Earth
Lowest review score: 20 That Awkward Moment
Score distribution:
  1. Negative: 17 out of 459
459 movie reviews
  1. Despite much old-school splatter, it’s seldom frightening and oddly unfunny.
  2. The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. It's très chic and charming but a bit disappointing when you see where it's headed.
  11. It’s impressive but not dazzling.
  12. A little too rough around the edges to fully engage.
  13. 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.
  14. 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).
  15. The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.
  16. 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.
  17. Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.
  18. 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.
  19. What marks out director Mike Newell and writer David Nicholls’s version is its impeccable acting.
  20. 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.
  21. Luckily, Hawke and Delpy remain as charming as ever, and their combined goofiness is more endearing than annoying. Winning, too, is the sense that this peculiar project, though imperfect, could grow old with its audience and its cast.
  22. Never less than slick, precision-tooled multiplex entertainment, Kingsman hews close to the formula Vaughn and his co-writer Jane Goldman established in their superficially similar "Kick-Ass": hyperspeed action, pithy one-liners and grotesque ultraviolence.
  23. 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.
  24. It’s all put together with a crisp confidence that suggests its writer-director will swiftly move on to bigger things.
  25. It’s Bruni Tedeschi’s sure grasp of the milieu – and in particular her acute understanding of the specific foibles of a rich, arty but out-of-touch class nostalgic for an earlier era – that makes the film a modest but surprisingly substantial delight.
  26. The film’s said to be autobiographical, but that’s entirely left to us to guess.
  27. Desplechin’s film is a modest but very passable affair.
  28. Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.
  29. The problem with the film is that Potts’s life story has been put through the Hollywood meatgrinder. Awkward details have been changed or erased – they’ve made Potts Welsh (he grew up in Bristol) and eliminated his siblings.

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