Time Out's Scores

  • Movies
For 4,440 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Aristocats
Lowest review score: 0 Vampires Suck
Score distribution:
4440 movie reviews
  1. Richard Jewell’s greatest feat is the generous emphasis it places on its Forrest Gumpian do-gooder’s complex sense of humanity; if only there were more of that to spread around to the other characters.
  2. The material is worthy, but this continuing struggle deserves a more nuanced take.
    • 70 Metascore
    • 70 Critic Score
    Another enjoyable fantasy adventure from Studio Ghibli, the animation house that gave us the delightful Spirited Away. This is not in the same class, but lovers of Miyazaki’s masterpiece will recognise the same worldview – essentially that of Lewis Carroll’s Alice stories refracted through a modern Japanese sensibility.
  3. Ballour’s presence makes Fayyad’s film inspiring, even as we cringe for her safety with every overhead explosion.
  4. Meirelles injects enough visual snap to remind you that he once made City of God. If the second half gets a little sidetracked by flashbacks, another meaty Vatican scene is never too far away. Watching these two actors chewing over big issues—God, aging, loneliness, celibacy, abuse in the priesthood—under the vast ceilings of this gilded palace is a joy.
  5. But for every Thelma & Louise–like golden-hour drive into the sunset (there are several too many), you wish the movie also had the sophistication to cram from that classic script’s complex sense of injustice, one that had room for a subplot involving a sympathetic lawman. Believe in Matsoukas, though; she’s the real deal and she’ll get better material.
  6. Little Women sometimes plays like a comedy, one that includes a crumpled cry over a bad haircut and several kitchen interludes that feel like Christmas miracles. Yet it’s Alcott’s visionary attitude, well-struck by Gerwig, that stays with you the longest: the loneliness of female liberty.
    • 51 Metascore
    • 80 Critic Score
    As Black Panther, Boseman is a hero in spandex; here he’s a hero with a badge and gun, who looks the devil in the eye, and stares down the evil in the system. It’s a smart way forward for an actor who has suddenly become extremely famous, yet wants to be perceived as more than just a cartoon. He’s got the chops to take us anywhere he wants.
  7. Of course we all hate insidious environmental destruction; it’s valuable to have movies about that. This one works fine enough. But let the other less-talented filmmakers make them.
  8. Director Bill Condon (Gods and Monsters) can do this stuff with his eyes closed, and sometimes it feels like he might be doing that as the plot chugs from London to Berlin and secrets are duly uncovered. But there’s enough visual flair to elevate things above standard genre fare.
  9. If Frozen was about coming to terms with who you are, Frozen II is about transformation. Does it offer further evidence for those who saw "Let It Go" as Elsa’s covert coming-out anthem? Sadly not, though she remains an intriguingly elliptical canvas on which to project genuinely groundbreaking ideas about empowerment and identity.
  10. If you’ve ever wondered what the boredom threshold is for watching a musician tuning a hurdy-gurdy, you’ll find the answer here.
  11. For all of its #MeToo heavy lifting, though, the film still doesn’t work, mainly for the same reasons as before: Constructed as symbols (not human beings), these characters have too much spy stuff to do and yet, not quite enough.
  12. If Last Christmas isn’t quite irresistible in its emotional moments and the cheesiest bits are borderline indigestible, its effervescence makes it a fun enough watch. At the very least, it’ll make you fall hard for its other romantic lead: London.
  13. Steel battleships and raining fire are Midway’s primary colors; the movie flaunts its hugeness at every turn. You’ll never mistake it for the real thing, but Emmerich’s eye for historical detail is scary.
  14. Widows' Cynthia Erivo supplies dramatic weight to a project that squanders it on awkward action moments and simplistic showdowns.
  15. Yet it’s rare that we get a movie this municipally minded and Chinatown-ish, and Norton invents new elements with a free hand, including a Harlem turf war, a skittering jazz undercurrent (the music is by Daniel Pemberton) and a love interest in Gugu Mbatha-Raw. Alec Baldwin, playing a powerful urban planner, makes for a ferocious Robert Moses stand-in.
  16. The predictable fish-out-of-water comedy gradually gives way to something deeper, as conflicting world views are exchanged, homespun wisdom dispensed and minds broadened.
  17. You could call it fan service, if the service is to teach fans that mimicking Stanley Kubrick’s chilly elegance—and even reshooting scenes from the original film with lookalike actors, a crime bordering on sacrilege—doesn’t make your take nearly as scary.
  18. As proven by Mary Elizabeth Winstead in Final Destination 3 or the spunky Jessica Rothe in Happy Death Day, these fate-driven, high-concept horror flicks can be redeemed by a committed central performance. Countdown’s Elizabeth Lail, as a nurse who wants to get to the bottom of things, joins their company; she’s got a certain Jennifer Lawrence scrappiness.
  19. It has a kernel of raw torment and an unforgiving streak that hints at still-unreconciled wounds, too. It’s not the best film of the year, but it’s definitely one of the most personal.
    • 55 Metascore
    • 40 Critic Score
    It’s all a lot of effort for very little output, sadly. The Current War has lots of flashy lights and whizzy features, but it remains fatally underpowered.
  20. The potentially interesting material is suffocated by a B-movie story and a C-grade script.
  21. Even with the original stars returning, the sequel feels weightless, disposable and hardly the stuff of Skynet nightmares.
  22. Heroically, Double Tap’s new actors, rare though they are, save it from being completely brain-dead.
  23. It’s bewitching stuff when it doesn’t feel like a waste of invitations.
  24. To be fair, pulling off complex action sequences in such unforgivingly high definition is a ballsy move—it’s much harder to hide the joins between what was captured in camera and what was added later. But as impressive as the action is—and a Smith-vs.-Smith motorcycle chase in Colombia is a superb sequence worthy of peak Bond—the high-definition format just doesn’t work.
    • 66 Metascore
    • 60 Critic Score
    It’s exciting to see this underground scene finding an outlet on screen. As an exploration of contemporary youth culture, masculinity, identity and sexuality, as well as life at the margins, VS. is topical and energising.
  25. It’s made with so much love, care and enthusiasm—plus no small amount of risk—you thrill to think that they’re just getting started.
  26. Philippe earns his keep, not only by mounting a crisp, elegant production well above the standard of your typical video-lensed making-of, but by skewing toward anecdotes that most corporate clients would frown upon.

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