Time Out's Scores

  • Movies
For 3,090 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Heaven's Gate
Lowest review score: 0 Vampires Suck
Score distribution:
3090 movie reviews
  1. The world's worst film gets an affectionate making-of dramatization that's half as weird as the real thing.
  2. The movie’s admirable fleetness, however, doesn’t mitigate some of its narrative errors — Alexander’s opening voiceover suggests his family is totally oblivious to his role in their misery, which is disproved by a later scene — nor does it counteract an overall sense of slightness that prevents this from being a family-film classic.
  3. For better or worse, that detour into proverbial uncharted waters ends up hipchecking a by-the-book hagiography into the realm of compellingly cracked vérité.
  4. The best thing you can say about the movie is that you couldn’t accuse it of being a sellout — nor would you think it was a Joe Swanberg movie.
  5. Like that giant metaphorical carousel looming over them, it’s a movie that’s spinning its wheels.
    • 63 Metascore
    • 60 Critic Score
    While marred somewhat by the griminess of its HD imagery, Splinters nonetheless successfully integrates the sport and an attendant subculture in a way that manages to enhance both, leading to a climactic competition that actually makes you feel something important is at stake.
  6. Loach coaxes an endearingly poised performance out of nonprofessional Brannigan, and largely sells these scuffling characters as neither hopeless nor heroic—just terribly human.
  7. Director Madeleine Sackler favors an agenda of advocacy over complexity, making The Lottery an effective, if unapologetically one-sided, piece of agitprop.
    • 56 Metascore
    • 60 Critic Score
    Beck’s widow, his ex-wife and three daughters paint the man as someone whose success only complicated his life, estranging him from his family and eventually saddling him with crippling inertia. Pimping ain’t easy, but going straight is no picnic, either.
  8. Whenever the film focuses more on Jarecki's hand-wringing than deconstructing the war itself, you wish someone would have looked the filmmaker in the eye and just said no.
  9. It’s hard to say if Faith works better as part of a whole instead of a triptych’s single panel until the trilogy is complete, but the unconverted may find this too much of a cross to bear.
  10. The early scenes of Gabe Ibáñez’s impressively mounted but uneven thriller do some terrific dystopian world-building.
  11. The 3-D effects, so promising on paper, don't really add much-and, worse, there's a overreliance on slow-motion, which kills the fun.
  12. An overall lack of drive drops the pacing from languorous to a slow, stalled crawl, but the journey itself isn’t the point here. For once, it’s the destination--forgiveness--that really counts.
  13. Go big or go home, they say; World War Z picks the wrong choice for its slow fade-out, and, instead of leaving you in fear of being chomped upon as you exit the theater, makes you feel enraged that you’ve been more than a little cheated.
    • 53 Metascore
    • 60 Critic Score
    The first feature from British theater director Rufus Norris deftly mixes gritty realism and lyrical impressionism, though its five-car pileup of a climax ultimately makes the film feel less a Greek tragedy than a miniseries in miniature.
  14. Though bourgie audiences looking for a sun-warmed romance will be slapped; the movie may look pretty and may plod, but it also leaves a bruise.
  15. The overall effect is not unlike watching a chef de cuisine experimenting in his off-hours; not everything takes, but you still come away with a pleasingly stimulated palate.
    • 53 Metascore
    • 60 Critic Score
    O'Grady, at least, gives a nuanced performance, even if she appears to be doing an uncannily accurate impression of Kristen Wiig.
  16. But scary? Not so much.
    • 34 Metascore
    • 60 Critic Score
    Krakowski’s modestly charming culture-shock comedy has an unusual midpoint game changer, as it suddenly mutates into an intimate familial-generational drama.
  17. Stick with the film, though, and you might find yourself strangely moved by its oddball mix of ripe melodrama, overwrought violence and regional verisimilitude.
  18. Basically, it’s an electrifying three-person play, as the determined Winstead, the complexly furious Goodman and Tony-winner John Gallagher Jr. (playing a lucky neighbor who made his way down) have it out in scenes that impart the nauseating futility of George Romero’s mall-ensconced "Dawn of the Dead."
  19. If you'll pardon the cleverness, Frank takes time to wrap your own cranium around, faults and all, and that's a wonderful thing.
  20. Even if you can forgive the crude JAP caricatures (et tu Minnie Driver?) and the blatantness of the film's attempts to make you sob, you're still left with lovely actors stuck in a lackluster cover version of the real thing.
  21. Jessica Lange, as rare as a unicorn these days, seizes on the role of a grieving mother with two taloned hands. If there are any tremors of shame to be felt here, they emanate from her.
  22. Those unfamiliar with Verdi’s tragedy won’t understand why this production was significant, nor see much of the fruits of such hard work; those onstage may become La Traviata’s tragic characters, but it’s tough not to feel that we, the audience, leave only half-transformed.
  23. While slickly enjoyable in parts, the biggest misstep here comes by puncturing Spielberg’s grandeur.
  24. Produced by veteran Chicago doc outfit Kartemquin (and correspondingly bullshit-free), Siegel’s archive-and-talking-heads narrative revels in forgotten details—like Ali, during his suspension from boxing, appearing in an Off Broadway musical about slavery, the taped footage from which is eye-popping.
    • 50 Metascore
    • 60 Critic Score
    At one point, Borba speaks with keen perspicacity about embracing Bahian folklore even when it verges on stereotype. This documentary mirrors the enthusiasm of that embrace, but not its artistry.

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