Time Out's Scores

  • Movies
For 3,050 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 A Prophet
Lowest review score: 0 Vampires Suck
Score distribution:
3050 movie reviews
  1. Even this terrifically talented performer can't sell a Shyama-lana-ding-dong of a third-act twist that will make more eyes than heads roll.
  2. It's a pleasure to watch the granite-faced action star do his own stunts, particularly a death-defying leap from a bridge. Yet everything feels hurried.
  3. Protektor is simply another in a long line of diluted stories about life during wartime, one whose diminished returns only further trivialize a legacy of real-life horror.
  4. A thick sheen of luscious lens flares and Terrence Malick–like poetic lulls feel like icing on an undercooked mud pie—Bedford’s script deserves a stronger engagement with its characters’ desperation. Instead they collide in a clichéd ending that feels padded.
    • 49 Metascore
    • 40 Critic Score
    Ford has come up with a nifty way of exploring the enduring allure and troubling underside of the superhero myth. It's just too bad his own all-too-human powers aren't quite up to the task.
  5. There’s a lot of cinema to admire here. And being reminded of the directorial talents of Affleck—undeniably a more accomplished filmmaker than an actor—is no minor event.
  6. Weaknesses from the original remain, including a mustache-twirling villain straight out of a Bond film (Sharlto Copley) and a Freudian master plan that unravels the more you think about it. Give credit to Lee for staying fresh, even if this feels like slumming.
    • 49 Metascore
    • 60 Critic Score
    One of the main explanations for our country’s inner-city high-school dropout rate is that public education doesn’t teach skills applicable to life outside the classroom. Director Mary Mazzio’s film, part documentary and part public-service announcement, offers a plausible alternative, which may prompt a discussion of totally revamping standard curriculum.
    • 49 Metascore
    • 40 Critic Score
    If you’re not already a member of the “Johnny’s Angels” fan club, you might wonder why other equally outrageous athletes weren’t bestowed with their own cinematic tributes.
  7. Cake chokes you on its self-seriousness, even as it trots out potentially interesting supporting players.
  8. The final word on this incident will require a more thoughtful filmmaker. But hopefully, that artist will possess at least half of Bay’s punishing, peerless craft.
    • 48 Metascore
    • 40 Critic Score
    The movie spends almost as much time allowing the filmmaker, playing a progressive-minded teacher, to push his students to be better citizens by interviewing homeless people on skid row (!) as it does watching the younger generation trying to get some. It's an uneasy mixture of crude yukking and mixed-message uplift that satisfies on neither level.
  9. Shadows still functions as a study in superior sequel-itude, building a fine showcase for a reimagined character and the compelling, twitchy dynamo playing him. Should Ritchie ever learn to be elementary instead of epileptically overwrought, he may one day do proper justice to both.
    • 48 Metascore
    • 60 Critic Score
    Interviews with real-life Gleeks contribute to the signature mix of schmaltz and earnestness one can expect from any Ryan Murphy vehicle, and there's nothing here that couldn't be accomplished in good old 2-D. Still, there's no need to stop believing.
  10. MacFarlane’s preference for quantity over quality results in a lot of dead air, but the gags that land are howlers, and all of its crudeness (and racism, and sexism, and homophobia, etc.), the movie beats with a real heart.
  11. One would be better off experiencing Woodley via her heartbreaking turn in last year's "The Spectacular Now," a drama that actually has more to say about nightmarish cliques and individuality than any lackadaisical slide into future schlock.
    • 48 Metascore
    • 40 Critic Score
    We see a storybook landscape enchant the pair, but we never feel it.
  12. Rote ageist jokes abound (“Do you guys have drugs?” asks a bachelorette; “Does Lipitor count?” responds Kline), but they come with an inclusive, self-deprecating spirit that grows more endearing over the duration.
  13. A single arresting shot of a photographer chasing a man on fire says more about journalistic ethics and the queasy power of the image than all of the speechifying and star-posing combined; if only the rest of this muddled movie had as much insightful Sontagian bang.
  14. Deeply irresponsible, this a film that will give parents seizures-and Roger Corman a big old smile.
    • 48 Metascore
    • 40 Critic Score
    Levine's dramedy not only gives Ned's middle-class crises a static, by-the-numbers treatment, it also feels compelled to adopt a ridiculously righteous moral tone.
  15. More time could have been spent developing the bond between the men, but ultimately this is quite gripping: a weepie bromance. You don’t see one of those every day.
  16. 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.
  17. Fading out long before it’s able to cohere into anything memorable, Song One has its heart in the right place (on its sleeve)—it’s just in desperate need of a few strong hooks.
  18. The new drama, best viewed as a church movie, is a return to the kind of corner-chat indie cinema Lee revolutionized, with an emphasis on a towering performance by The Wire's Clarke Peters as a local bishop inflamed with the Word.
  19. In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.
    • 48 Metascore
    • 30 Critic Score
    If you're still at the age when farting and nose-picking seem funny, then Caddyshack should knock you dead. Buried deep - very deep - beneath the rising tide of effluent is a pleasant enough story of a kind about trying to make it to the top as a caddy while yet remaining human; a movie which could have done for golf what Breaking Away did for cycling. Instead it allows a string of resistible TV comics (Chase excepted) to mug through an atrocious chain of lame-brained set pieces, the least vulgar of which involves a turd in a swimming pool.
  20. Displaying a weird lack of memorable or endearing characters, this animated effort feels more like a direct-to-video job from the 1990s than a fully fledged John Lasseter–exec-produced theatrical release.
  21. Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
  22. This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama.

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