Time Out's Scores

  • Movies
For 3,143 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 6.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 It Comes at Night
Lowest review score: 0 Vampires Suck
Score distribution:
3143 movie reviews
  1. Bound to surprise absolutely no one, Donald Trump comes off like a shameless boor in this slack, hiss-jerking documentary about his efforts to build a luxurious golf resort on hundreds of pristine acres of the Scottish coast.
  2. A business-as-usual slog.
    • 30 Metascore
    • 40 Critic Score
    Munn has proved on TV that she has solid timing, but she does little here other than look pretty and, when the plot calls for it, outraged. As for the likable Schneider, the "All the Real Girls" actor demonstrates that he's better off as a straight man than as a physical comedian.
  3. Eventually runs out of gas--or rather, pedal-power--as the filmmakers grope for how to cap the Beavans’ story.
  4. This tale of a rich brat (Jonet) is a banal, tone-deaf dud.
  5. That all sours by the time of the film's "shocking" climax, which is so hilariously telegraphed, it plays like a Benny Hill gag rather than a tear-duct stoker.
    • 58 Metascore
    • 40 Critic Score
    Despite the attention the film pays to the divide between the man as the ungainly, loving second-gen immigrant versus the boozy provocateur, it's not a portrait of much psychological depth.
  6. Barkin may be the equal of Gena Rowlands or Liv Ullmann. Her director's clumsiness, however, suggests he isn't fit to hold Cassavetes's or Bergman's old camera cases.
  7. This vision of contemporary Italy as a warped fairyland filled with corpulent slobs and seedy C-grade celebrities recalls the tough-love spectacle of Fellini’s "La Dolce Vita," but Reality frustratingly devolves into a far more tedious mass-media morality tale.
  8. The movie's overall lack of imagination is the real tragedy.
  9. Rather than presenting the original Czech version, American distributors have opted to release an English-dubbed edition, headed up by writer, director and actor Vivian Schilling (who voices the kidnapped doll Buttercup) - and the result is a tonal disaster.
    • 57 Metascore
    • 40 Critic Score
    The first-person source material might explain the one-sided account of the struggle, but the film is crippled by its underhanded treatment of Bonham Carter's character, including a healthy dose of unmitigated middle-class snobbery.
  10. The movie builds to a particularly deflating anticlimax, passing over an inevitably apocalyptic confrontation between spheres with a wink-wink, nudge-nudge bit of dialogue that’s like a rejected punchline from a Douglas Adams novel.
  11. What we’re left with are a bunch of unseasoned performers and a first-time filmmaker clearly out of his depth (good lord, those green-screen shots!) hocking loogies at Mickey and friends with hit-and-mostly-miss fervidness.
    • 34 Metascore
    • 40 Critic Score
    The movie’s nagging inconsistency goes from merely grating to flat-out jaw-dropping, courtesy of late-game plot twists that squander whatever benefit of the doubt may remain.
    • 28 Metascore
    • 40 Critic Score
    It’s a complex geometry that’s mined for some interesting perspectives on romantic fulfillment, but the film’s comic sense (exemplified by a drunken Harden acting inappropriately) is slack and its dramatic conclusion unfulfilling.
  12. This boppy biopic pushes a wealth of outrageous incidents while never making anything resembling a point.
  13. The highlight, though, is Julie Christie as Grandma, whose GILFy gorgeousness (especially in the "better to eat you with" scene) is the only thing in this overblown campfest with real teeth.
    • 56 Metascore
    • 40 Critic Score
    If only writer-director Jacob Aaron Estes had bothered to dig a little bit deeper than those damn raccoons did.
  14. A favorite at this year's SXSW, Kyle Smith's real-time look at curdled relationships is a modest take on indie psychodramatics - and little else.
  15. This is mostly all reefer, no madness.
  16. Lilien certainly captures Pale Male's wild animal beauty in loving close-up. What his film needs, however, is distance.
  17. Like a stumpy limb requiring quick cauterization via steam pipe (our first cringe), the Saw series is begging for closure.
  18. It’s hard to know if this clunky comedy is part of Mel Gibson’s redemption arc or some strange new form of karmic retribution.
  19. They quickly smother whatever greatness was inherent in the material. Faulkner’s vivid, tragic and tender world is nowhere to be found here, and it's a deal breaker by any other name.
  20. Whether anyone over the age of 16 will find the film's proud amateurism and choir-preaching personally enlightening, much less profound, is anyone's guess.
  21. There's really no focking place for the franchise to go anymore.
  22. Whenever this Lantern returns to terra firma (too often), its imaginative flights are ground down under the Warners overlords' demographic-pandering heels.
  23. The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
  24. At the end, the door is left open for a sequel, but Agent 47 doesn’t feel like a character who’s got what it takes to be a franchise hero. He, and the film, are lacking in personality.

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