Time Out's Scores

  • Movies
For 3,356 reviews, this publication has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 5.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Eraserhead
Lowest review score: 0 Vampires Suck
Score distribution:
3356 movie reviews
    • 72 Metascore
    • 60 Critic Score
    Despite the looming threats on display, Kosinski never imbues his movie with a real sense of danger until it’s too late to take the threat seriously. For all of the movie’s flare, Only the Brave lacks dynamism.
  1. St. Vincent has nothing on Rushmore, an obvious forebearer, even though it strains for the same egalitarian spirit of thrown-together family, one that includes a pregnant Russian stripper (Naomi Watts) and a sympathetic but firm Catholic schoolteacher (Chris O’Dowd).
  2. For every camp element like Javier Bardem’s rainbow-vomit outfits or Diaz’s onanistic tryst with a car windshield, there are a dozen poetic-pulp moments that channel McCarthy’s pitiless view of the world to a tee.
    • 66 Metascore
    • 60 Critic Score
    The year’s 3-D deluge continues: Cloudy with a Chance of Meatballs is an amusingly loopy kids’ meal about a small-town inventor.
  3. That the duo will work their way back to each other is never in doubt, although Chazelle doesn't succumb to easy sentiment. If anything, he moves too far in the other direction, aiming for a wizened ambiguity that doesn't entirely come off.
  4. A believably unbalanced Bening scores the movie’s true coup: Karen’s revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance.
  5. As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
  6. The oddest thing about the movie - and perhaps the asset that will tip it over into the plus column for you - is that it's a bona fide scuzz-Western.
  7. It seems a strange thing to say about a film featuring a giant man-eating mallard, but a bit more eccentricity wouldn’t have gone amiss.
  8. Redford’s devotion to old-school liberalism and ’70s socially informed dramas has been a directorial-career constant, and at its best, The Company You Keep feels like a movie you’d have seen in 1975 — one informed by political righteousness and made for adults.
  9. Alas, it all comes off as hit and myth, mainly due to our leaden, buzz-cut hero, Perseus (Avatar’s Worthington, no Harry Hamlin), and zero sparks of heavenly-body chemistry or humor.
  10. Don’t expect Austen-style humour, though: ultimately, you may be frustrated by a narrative that punishes its pleasant protagonist so thoroughly. But credit to Brizé and crew for an impressive piece of filmmaking with a refreshingly contemporary approach.
  11. The first-person sections, however, couldn’t be more clumsy or grating, and every time Diamond’s tone-deaf narration starts repeating the obvious, you can feel an eye-opening history lesson turning into a quirky, orbs-glazing travelogue.
  12. You can't help feeling that an initially adventurous movie has had its rough edges sanded away.
  13. Seeing as how Kill the Messenger comes down firmly on the side of Webb’s truth, it’s unfortunate that his discoveries are only confirmed via the end credits. Missing from the action, too, is the merest hint of our hero’s demise by suicide in 2004. These aspects should have been better showcased; as is, it’s not the whole story.
  14. This Siberian jaunt, free from cultural weirdness and ethical barbed wire, is even more of a vacation for Werner Herzog than it first appears: The German codirector never left L.A.
  15. RED
    It's the casting, stupid!
  16. Fifty Shades of Grey is a sex-positive but hopelessly soft-core erotic drama that fails to be even a fraction as titillating as the E.L. James books that inspired it. And yet, that’s exactly why it works.
  17. Delivers Moore’s usual grab bag of ironic kitsch, gotcha clips and infotainment-journalism.
  18. Ambiguities trump answers, and possibly even logic. For those who aren't burdened by such things, the loopy, off-kilter pace and frontal-lobe frying provide their own unconventional pleasures. It's a cult film, in more ways than one.
  19. As a micro-to-macro tour of Germany's fraught relationship with its Jewish citizens, In Heaven Underground couldn't be more connective; as a straight doc, its aesthetic choices couldn't be more confusing.
  20. A genuine labor of love and fictional self-loathing, Sullivan's animation style is undeniably compelling, whether he's channeling Grant Wood's paintings or Robert Crumb's monochromatic sketches. But the interweaving stories of commercialized religion, rancid Americana and alcoholic wretches start wearing thin around the movie's midpoint; by the end, the whole morose endeavor risks becoming downright threadbare.
  21. Titillation and tentative stabs at gender studies do not a cogent cri de coeur make. It's simply a provocation that's all hopped up with nowhere to go.
  22. There's enough filmmaking talent evident throughout that you wish the journey were more satisfying overall.
  23. Once the story takes a murderous turn, things quickly fall apart. Too many perfunctory side characters, such as Dennis's clueless parole officer, dilute any sense of tension; the bargain-basement visuals-all overlit interiors and unmotivated zooms-never rise above the luridly cheap; and hoo-boy, those final scenes.
  24. Imagine "His Girl Friday" crossed with "Armageddon" and you’ll get a sense of the unfortunate disconnect that prevents an enjoyable light entertainment from achieving rom-com nirvana.
  25. The setup is pure Looney Tunes, and indeed, Despicable Me is at its best when trading in the anything-for-a-laugh prankery that was a specialty of the Termite Terrace crowd.
  26. Crushingly, the dependably perverse art-action director Nicolas Winding Refn has finally made a boring movie.
  27. Bakri has charisma to burn, but the complexity of Abu-Assad’s previous movies is traded in for weak genre thrills.
    • 55 Metascore
    • 60 Critic Score
    While the movie occasionally stretches too far to maintain thematic coherence, its momentum is sustained by the urgency of its case studies, as well as the sense of outrage at the injustices perpetuated at the behest of powerful monetary interests and its striking imagery.

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