Time Out's Scores

  • Movies
For 5,459 reviews, this publication has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 An Autumn Afternoon
Lowest review score: 0 Hardbodies
Score distribution:
5459 movie reviews
  1. The narrative is unadventurously straightforward, and anyone looking for any neat twists or wrinkles will be disappointed; the spectral nature of Finney’s allies could have made for a neat final-act reveal. But the performances are uniformly strong, with McGraw stealing scenes and Hawke exercising his dark side so effectively that, after this and Moon Knight, he’ll leave you in no doubt of his flair for villainy.
  2. Beating with a wild and restless energy, the film’s fearsome but ferociously beautiful heart marks the emergence of a rare and remarkable talent.
    • 67 Metascore
    • 60 Critic Score
    Despite impeccable performances from its talented cast, we never get to know the characters intimately enough to connect.
  3. A monument to Australia's thriving music scene, it will have you whooping with joy one minute, then fighting back the tears the next.
  4. Ultimately it's a tribute to a woman well-loved, and to the family who will never forget her, even if they slip slowly away from her mind.
    • 78 Metascore
    • 80 Critic Score
    Excellent writing by Katy Brand leaves plenty of room for both light-hearted humour and deeply personal moments, with Thompson bringing her A-game and newcomer McCormack matching her. They’re a captivating, unlikely duo.
    • 60 Metascore
    • 40 Critic Score
    For Pixar, which must surely have a Woody western in mind, it’s a wake-up call. Let’s hope they’re soon back on more fertile ground, because Lightyear feels like that horrible moment when you broke a much-loved toy.
  5. It’s to the 1993 original what The Kingdom of the Crystal Skull was to Raiders.
  6. This enjoyably mean-spirited black comedy set in a grand country house will have you wondering who your real friends are – and what they really think of you.
  7. If, though, you’re looking for a more probing look at the man behind the balls of fire, or a pan back to place him in a broader context, Coen’s rockumentary will fall just a little short of satisfying.
  8. From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.
  9. The hackneyed thieves-with-a-heart-of-gold trope is reinvigorated by the sharpness of the writing and Song’s Basset Hound charms. While Broker occasionally gets close to cloying, especially in its neat ending and jaunty score, Koreeda keeps it the right side of cutesy. It’s best enjoyed as a modern-day fairy tale – only, one where the abandoned baby sparks nothing but enchantment.
  10. For those masters of small-scale vérité social dramas, it’s such a bracing sensation to see them tiptoeing into genre terrain, you’ll forgive the fact that the villains are two-dimensional and that the ending is jarringly abrupt.
  11. Vaguely redolent of Salvador, only slowed right down to a walking pace, or The Passenger without its seductive sense of place (and Jack Nicholson), The Stars At Noon is a mercurial thing and, as an unsuccessful Denis film, a rare one too.
  12. Every trick and technique here, from ingenious match cuts, to split screens and even comic-book cells, works to soup up the storytelling.
  13. Wei is magnetic as the would-be killer who uses her patchy Korean as an additional smokescreen to manoeuvre behind. She ties the detective in knots, a shapeshifter whose true nature is beguilingly unclear.
  14. Whatever your favourite side to the limitlessly faceted David Bowie, this magnificently mind-bending film serves it up in a 140-minute career-spanning opus that races by in a snap of the fingers. It’s almost as extraordinary as the man himself.
  15. Abbasi offered a brilliantly leftfield perspective on immigration and otherness with his 2018 debut Border, and his follow-up takes no prisoners in his critique of Iranian society’s built-in misogyny and fake piety.
  16. There’s more than enough here to hope that Cronenberg still has a masterpiece or two yet to be emerge from within.
  17. A romantic fantasia set in Istanbul, George Miller’s mystical confection operates like the genie at its heart: it’s full of visual sleight-of-hand and boasts plenty of storytelling power, but soon disappears from your mind in a puff of smoke.
  18. Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff.
  19. Aftersun flows like a fondly remembered memory that’s been replayed endlessly, as if trying to find an important detail that might explain what happened. The easy pace of Wells’s direction brings out the best in her central performers, and the chemistry between Mescal and Corio plays out effortlessly. The light moments between them are warm and the darker ones linger heavily
  20. It explores love, both romantic and familial, with no trace of drama or sappiness, and without ever feeling slight. It’s a balm of a film and another glorious showcase for the director’s light touch when dealing with complicated emotions.
  21. For the majority of the film, Östlund’s combination of sledgehammer and scalpel work a treat. They’re fast becoming the hallmarks of a satirist who’s unlikely to run short of subject matter any time soon.
    • 74 Metascore
    • 80 Critic Score
    It describes itself as ‘a coming-of-age story that explores friendship and loyalty while America is poised to elect Ronald Reagan as President’. Considering that’s exactly when Gray himself was going from child to teen, this sounds like it could be his most personal film yet.
    • 67 Metascore
    • 60 Critic Score
    Family traumas and terrible lies permeate co-directors Saela Davis and Anna Rose Holmer’s drama, which is given a bedrock of emotional authenticity by screenwriter Shane Crowley and is exceptionally acted.
  22. You have to hope that Hardy is not this annoying in real life, because by the time Dashcam’s supernatural menace reveals itself, you’re firmly on Team Blood-Spewing-Zombie. Maybe that’s the point. It’s hard to tell.
    • 40 Metascore
    • 40 Critic Score
    Well-intentioned but ultimately mishandled, it commits the cardinal sin of indecisiveness, middling out in a purgatory of daddy issues and Sunday service pamphlets.
  23. On one level, this is almost a really intriguing study of a very particular kind of first-world creative anxiety, but unfortunately, the fly-on-the-wall stuff just sounds like – as one of them calls it – ‘whining’. It looks like a real chore being in a-ha, around a-ha or possibly even a fan of a-ha.
  24. This is obviously a deeply personal subject for Noé, who has spoken about experiencing the fallout of dementia first-hand. But while his film gradually pummels you, it can’t match 2021’s superb dementia chamber piece The Father for impact or insight. As it grinds towards its slightly contrived ending, it does start to feel like rubbernecking.

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