Time Out's Scores

  • Movies
For 3,545 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 5.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Senna
Lowest review score: 0 Hardbodies
Score distribution:
3545 movie reviews
  1. The most harrowing revelation of all comes during two of Macdonald’s many interviews with friends, family and associates. It’s a piece of digging that adds investigative weight to the film and a hard-hitting coda to his exploration of the fragile psychology of stardom.
    • 70 Metascore
    • 40 Critic Score
    Even Peña and an able supporting cast that boasts a bear-hugging Bobby Cannavale are hamstrung by a script where too many jokes fall flat.
  2. For a man so singular, the film’s chronological approach feels conventional and there’s little of the spark or fantasy he infused into his work in evidence.
  3. Del Toro is the Ernest Hemingway of screen badasses: the less he says the better he is – he does his most convincing work while looking like he’s about to nod off. ‘Sicario 2’ sets up a future instalment centred on him: that sequel will be a must.
  4. Granik builds her engaging, sympathetic characters in subtle increments.
  5. At a time when movie screens are clogged with indistinguishable superheroes in obnoxious crossover events, Incredibles 2 kicks it old school and rises above the noise with its defiantly humane soul.
  6. For all its sombre revelations, A Cambodian Spring exudes a powerful sense of possibility. In these days of popular protest, it makes for an enthralling case study.
  7. Ocean’s 8 sticks to the formula, though Ross never quite matches the breezy vigour of the Soderbergh-directed trilogy, but the jokes land and there’s a satisfying twist to bring down the curtain.
  8. This fun, pacy addition to the dino disaster franchise doesn’t do much that’s particularly new – though what it does, it does with a fair whack of panache.
  9. The script – chronologically linear yet disjointed, averse to melodrama yet often clichéd in a ‘hello Monet, hello Rilke’ kind of way – is deeply inadequate.
    • 68 Metascore
    • 80 Critic Score
    Director Joe Stephenson paints a beautiful portrait, but the actor’s sensitivity, storytelling and strength of character are captivating enough.
    • 76 Metascore
    • 80 Critic Score
    French director Léonor Serraille’s debut film could easily have been unbearably twee. The fact that it isn’t, at all, is a tribute both to her unsentimental storytelling, and to the prickly strength of Laetitia Dosch’s central performance.
  10. It’s quietly absorbing and fitfully shocking as we experience the sights, sounds and smells of the streets where a one-year-old child can wander around alone without anyone stopping to wonder why.
  11. Director Nora Twomey’s film is about the ways we try to cradle each other from the harsher realities of life. This is a day-to-day survival story that stirs the heart and fires the imagination.
  12. Kubrick himself rarely spoke about his work – which means this is a valuable insight into Kubrick's character and filmmaking process, as well as a frank look at what it means to give up your life to work at the side of a difficult creative genius.
  13. Both a slow-burn suspense drama and an intriguing enigma, his film is beautifully executed throughout: the three lead performances are all spot on, while Mowg’s jazzy score and Hong Kyung-pyo’s immaculate camerawork fit the shifting moods to perfection.
  14. There are powerful and enlightening scenes, and there’s a catchy energy to the battlefield action. But the immediacy and credibility of the women’s mission feels compromised by one-too-many corny moments, unconvincing dialogue and a sense of uncertainty on Husson’s part over whether she wants to take a poetic or realist approach to her tale.
  15. Veering from blaxploitation spoof to undercover thriller and ending with a no-punches-pulled real-life coda, it’s riotous fun one minute, savagely biting the next.
  16. One of the many powerful things about The Image Book is how it so aggressively rejects any sort of gloss or neat packaging. The telling is the story.
  17. As Farhadi casts his roving, distracted eye over this unhappy community, sharing his story in a choppy, documentary style, it ends up feeling like a curiously detached exercise, more academic than wholly satisfying.
  18. The Polish filmmaker has conjured a dazzling, painful, universal odyssey through the human heart and all its strange compulsions. It could be the most achingly romantic film you’ll see this year, or just a really painful reminder of the one that got away.
    • 82 Metascore
    • 100 Critic Score
    With a rich, textured plot in which things are never quite what they seem, Rohrwacher paints a magical portrait of the decay of rural life, intertwining the past and the present in a work that is as exhilarating as it is sublime.
  19. It’s not that you can’t see what Von Trier is getting at, it’s just you wish he’d get there quicker and without all the desecrated bodies. For most of its hefty runtime, The House That Jack Built is just a slog.
    • 54 Metascore
    • 60 Critic Score
    Inventive and anarchic, but by no means Gilliam’s masterpiece, Quixote reminds us of the romantic ideal that the world needs dreamers who dare to defy convention.
  20. Boasting excellent performances all round (with the writer-director once again demonstrating his expertise with children), Shoplifters is another charming, funny and very affecting example of Kore-eda’s special brand of tough-but-tender humanism.
  21. Newcomer Fonte is terrific in the lead role, communicating Marcello’s meek protests with a twitchy physicality that grows slowly into a sketchy defiance.
  22. Ron Howard has come through with a frisky space caper that zips along like a speeder on a bed of air. It’s far from perfect, but it’s much better than it has any right to be.
  23. It’s not a bad movie, by any means, but it strains to turn a seriously introspective story into something cinematic.
  24. Immaculately composed yet skittish, edgy and surprising, this impressive debut by writer-director Michael Pearce emanates a chill that will have you hugging your sides.
  25. The plot takes a timely turn toward homegrown terrorism, and even as cinematographer Alexander Dynan amasses ominous clouds, the film’s break from head-bound matters is a tonic.

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