For 543 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Tim Grierson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Burning
Lowest review score: 10 Blumhouse's Fantasy Island
Score distribution:
  1. Negative: 33 out of 543
543 movie reviews
    • 71 Metascore
    • 60 Tim Grierson
    Whannell is so invested in unloading juicy surprises that this initially realistic story becomes increasingly preposterous, but Moss keeps the film anchored in plausibility; although sometimes just barely.
    • 63 Metascore
    • 50 Tim Grierson
    Burdened with a drab quest narrative and populated by sweet but unmemorable characters, the studio’s 22nd feature still delivers glorious animation and the occasional tear-jerking sequence. But whether it’s the pedestrian design of this mythical realm or the simplistic story of squabbling brothers in search of their long-lost father, Onward never feels like much of an advancement.
    • 21 Metascore
    • 10 Tim Grierson
    Fantasy Island is the sort of inept, forgettable disaster that doesn’t even induce so-bad-it’s-good chuckles.
    • 63 Metascore
    • 70 Tim Grierson
    Although the film sometimes dips into muddled melodrama, those occasional setbacks can’t derail a story filled with warm, resonant characters trying to fathom their own hearts.
    • 47 Metascore
    • 50 Tim Grierson
    Despite some sweetness and playful absurdity, this big-screen outing feels mostly like derivative, fussed-over product.
    • 60 Metascore
    • 50 Tim Grierson
    The movie is delightfully odd but not consistently inspired, often straining to rewrite the rules of superhero cinema, a mixture of good and bad ideas all mashed together. Where other comic-book movies lumber along with self-importance, this film is a breezy, amoral lark, which proves somewhat refreshing. But that’s not enough to allow Birds’ hit-or-miss pleasure to soar.
    • 70 Metascore
    • 60 Tim Grierson
    While the story’s sturdy, familiar structure remains resonant, this version never feels particularly inspired or revelatory, despite some lovely moments scattered throughout.
    • 69 Metascore
    • 70 Tim Grierson
    It can be a challenge to get on this movie’s frequency, but the strange signals Tesla emits are nonetheless fascinating.
    • 69 Metascore
    • 80 Tim Grierson
    Dramatising Steinem’s life during different periods, and with different actresses, Taymor has crafted an exceedingly thoughtful portrait of a leader and the women’s movement she championed.
    • 87 Metascore
    • 80 Tim Grierson
    On the whole, The Father incorporates what could have just been a storytelling gimmick and infuses it with such sorrow, grace and even the occasional dark joke that it becomes a profound exploration of how we say goodbye to someone dear to us — even though they have not yet really gone.
    • 68 Metascore
    • 70 Tim Grierson
    Director Euros Lyn overdoes the feel-good trappings, but it’s hard to deny the genuine sentiment that the movie stirs up.
    • 77 Metascore
    • 70 Tim Grierson
    The Assistant is inspired by potentially scandalous material but subverts expectations, asking the audience to consider the broader societal implications of the crime.
    • 69 Metascore
    • 80 Tim Grierson
    The result is a deeply touching tapestry that celebrates the diversity and cultural richness of LA, while at the same time exploring the hopes and fears of a generation heading into an uncertain adulthood.
    • 80 Metascore
    • 80 Tim Grierson
    Perhaps not surprisingly, the movie works better as a free-floating societal critique — of materialism, of so-called domestic tranquillity — than as an incisive commentary on any of the topics it brushes up against. But The Nest’s atmosphere of animosity is palpable enough that it’s wicked fun simply watching the O’Haras become unglued.
    • 52 Metascore
    • 50 Tim Grierson
    It’s not simply that Uncle Frank becomes just another road-trip comedy — it’s that Ball resorts to clichéd or contrived narrative devices to keep the story going.
    • 54 Metascore
    • 60 Tim Grierson
    Wendy casts a powerful spell — the movie has the potency of a dusty folktale brought to vivid life — but it can be frustrating that Zeitlin doesn’t have much interesting to say beyond his stylistic flourishes and evocative atmosphere.
    • 80 Metascore
    • 80 Tim Grierson
    A beautifully bizarre film whose considerable strangeness allows for sharp observations about family, loneliness and the terror of emotional intimacy, Kajillionaire is further proof of writer-director Miranda July’s ability to bend reality to her will.
    • 72 Metascore
    • 70 Tim Grierson
    Blank’s lively debut feels liberated by its maker’s creative freedom.
    • 62 Metascore
    • 60 Tim Grierson
    This spy drama is bolstered by Benedict Cumberbatch’s stripped-down performance, and there’s plenty of pungent Cold War suspense to savour. And yet, Ironbark feels like a bit of a missed opportunity: The earnestness doesn’t necessarily do justice to the inherently absorbing material.
    • 92 Metascore
    • 80 Tim Grierson
    While this simple story may not seem inherently momentous, it speaks volumes about the ways in which women are marginalised — especially when it comes to making decisions about their own bodies.
    • 65 Metascore
    • 50 Tim Grierson
    The trouble with Miss Americana is that, although there is honesty and vulnerability, there’s also something rehearsed and distant about it. Swift invites us in, but she only lets us see so much.
    • 26 Metascore
    • 30 Tim Grierson
    Whether it’s Downey’s mannerisms or the dull quipping provided by his menagerie of digital co-stars, Dolittle is a joyless slog trying to pretend it’s a hip, magical adventure.
    • 59 Metascore
    • 40 Tim Grierson
    Taking the reins from Michael Bay, directing duo Adil & Bilall supply loads of energised style, but without the panache or shamelessness of their predecessor. As for stars Will Smith and Martin Lawrence, they don’t seem rejuvenated by this reunion, mostly re-creating the forced back-and-forth quipping that wasn’t even fresh back when they were younger men.
    • 48 Metascore
    • 60 Tim Grierson
    Underwater is hampered by some of the genre’s silliest conventions — questionable character motivations, delusions of grandeur — but the movie nonetheless succeeds by capitalising on an elemental terror: underwater, it’s very hard to see the dangers right in front of you.
    • 53 Metascore
    • 40 Tim Grierson
    Unlike The Force Awakens and The Last Jedi, which were energised by the prospect of returning to Lucas’ galaxy, Rise feels obligatory and uninspired. Rey may learn who she really is, but this unengaging franchise finale remains disappointingly nondescript.
    • 54 Metascore
    • 50 Tim Grierson
    Neither the humour nor the script is particularly sharp, although younger viewers may not mind the slapstick simplicity.
    • 49 Metascore
    • 60 Tim Grierson
    Anchored by Imogen Poots’ emotional performance, Black Christmas is uneven and overreaches, and yet its anger at a misogynistic society gets its claws into its audience.
    • 58 Metascore
    • 50 Tim Grierson
    The Next Level lacks the gleeful inventiveness of Jungle, in which three well-known stars slyly subverted their personas while embodying the insecurities and naivety of their teenage players. Absent that, it mostly feels gimmicky; the cast straining to recapture the hilarious rapport that once seemed so effortless.
    • 64 Metascore
    • 70 Tim Grierson
    Despite an overly polished and broad approach, the film is ultimately a persuasive portrait, guided by strong performances from Charlize Theron and Nicole Kidman as anchors who decide they can stay silent no longer.
    • 68 Metascore
    • 70 Tim Grierson
    Thankfully, Eastwood’s sure grasp of this inherently compelling story mostly overcomes his sentimental propensities.

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