Time Out's Scores

  • Movies
For 3,611 reviews, this publication has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 5.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Babadook
Lowest review score: 0 Police Academy: Mission to Moscow
Score distribution:
3611 movie reviews
  1. J. Edgar is infuriatingly coy and noncritical about its subject, an undeniable patriot but also an alarmist and a ruiner of lives.
  2. Mea Maxima Culpa only gets messier the more it tries to iris out to a larger indictment. The central tragedy ends up diluted to a fault.
  3. Though the director includes a few brief humdingers — a fight that involves a Rube Goldberg–ish tangle of wires; some munitions-fueled mayhem in a farmhouse — it’s not enough to keep viewers from wishing they were thumbing through a John le Carré novel instead.
  4. Director-cinematographer Steven Soderbergh’s indifference to the material is palpable and of a piece with his deathly dull output of late.
  5. Unfortunately, none of the subsequent noise is all that scary, and the striving for "Paranormal Activity’s" buzz is shameless.
    • 66 Metascore
    • 40 Critic Score
    The film spends too much time following a Christian pilgrimage to the Holy Land, limiting most of the substantive material to the last act.
  6. First-time director J. Clay Tweel oversells the importance of both the Vegas event and of magic in general-you'd think he were filming a spiritual movement rather than hidden-ball tricks. His wide-eyed subjects do make magic happen-but that has less to do with illusion than innocence.
  7. This is little more than an expensive-looking celebrity vacation video—more evidence in support of the notion that the Hollywood house always wins.
  8. The Freebie grimly reaffirms the status quo, concluding it's better to have no sex at all than to forsake the Ikea-furnished domestic dream.
  9. Irritated, you realize you've been watching an object that's all surface, no soul.
  10. This isn't a film, it's a recording of canned ham-tasty, certainly, but creaky nonetheless.
  11. This behind-the-curtain portrait winds up revealing only the most superficial-and glaringly obvious-of truths.
  12. Clearly there's a lot of myth-dispelling to do; indeed, the film often seems like a public-service announcement wrapped around a sketchy narrative skeleton.
    • 49 Metascore
    • 40 Critic Score
    The movie succeeds in generating only mild outrage, tempered by impeccable tastefulness and the safe distance of time.
    • 59 Metascore
    • 40 Critic Score
    Another depressing example of the big-screen gag-string sitcom, it turns exclusively on a plot that grew from a concept that developed from an idea that somebody should never have had - Goldie Hawn joins the army.
  13. What starts as an intriguing reverie ends as a hollow allegory.
  14. Unfortunately, Mumbai Diaries addresses these weighty concerns with such delicacy that they barely make an impact, thus calling further undue attention to the creakiness of the warhorse plot.
  15. You can go to one of those sweaty, immersive outdoor music fests and get splattered with the mud and euphoria that always engulfs fans. Or you can cheap out and see this predictable rom-com-shot at the 2010 edition of Scotland's then-in-progress T in the Park­-and boggle at finding strangers in the audience more appealing than our main characters.
    • 68 Metascore
    • 40 Critic Score
    So long as we're watching DeNoble recounting the details of his laboratory experiments, Addiction Incorporated remains sufficiently gripping; when Evans is reduced to observing his saintly subject educating high-school students about the dangers of nicotine addiction, it's considerably less so.
  16. Fortunately, a few striking sequences break up the tedium.
    • 45 Metascore
    • 40 Critic Score
    Uneasily poised between glib irony and earnest melodrama, Patricia Riggen's coming-of-age tale is as scattered as its manic pubescent protagonist.
    • 71 Metascore
    • 40 Critic Score
    Paul Williams’ annoyingly hummable honky-tonk soundtrack punctuates proceedings, which graze the zenith of that seventies inclination towards sexualising teen performers (think ‘Minipops’ in America).
    • 26 Metascore
    • 40 Critic Score
    Director Sam Miller’s attempt to take us on a thrill ride feels more like a slow train pulling up to the station.
    • 50 Metascore
    • 40 Critic Score
    Too sluggish for farce and too glib for a trenchant social satire, A.C.O.D. is several sessions short of a breakthrough.
  17. Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
    • 44 Metascore
    • 40 Critic Score
    Pomes squeezes in a few well-observed details among the recycled white-trash clichés, but any AMC viewer who's tuned into the lead-in for Mount's TV Western - Breaking Bad - expects far, far more from his or her meth-fueled entertainment.
  18. It’s unfair to blame Hess solely for condescension comedy’s bad aftertaste--he’s not the only perpetrator--but his particular brand is the most graceless.
  19. Their brotherly bickering may be a useful time killer until the new Arrested Development episodes drop, but it's ultimately foamy filler added to a frustratingly frothy film that says nothing about its subject.
  20. While the filmmaker may favor a classic Amerindie art-house style - shaky cameras, peekaboo framing, fill-in-the-gaps storytelling - he doesn't offer much in the way of corresponding insight regarding this social-issue case study, preferring to just construct a bare-bones stage on which his gifted performers can rage.
  21. The tone never stops waffling, and nothing truly revelatory ever emerges about those terrible few days in Texas. What we’re left with is the Disney theme-park version of history — all waxworks and weepiness.

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