Tim Grierson

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Los Angeles Times, Paste Magazine, Rolling Stone, Screen Daily, The A.V. Club, The Daily Beast, The Wrap, TheWrap
For 1,178 reviews, this critic has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Tim Grierson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Christine
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Positive: 572 out of 1178
  2. Mixed: 554 out of 1178
  3. Negative: 52 out of 1178
1178 movie reviews
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    • 80 Metascore
    • 80 Tim Grierson
    Gasoline Rainbow
    The results are often revelatory, offering an unvarnished look at being young, free and unsettled, with the individuals they meet being almost as important as the journey itself.
    • 69 Metascore
    • 60 Tim Grierson
    Dear Jassi
    The results are more dutiful than absorbing.
    • 82 Metascore
    • 90 Tim Grierson
    The Holdovers
    The Holdovers is crushingly wistful in precisely the way moviegoers have come to expect from Payne.
    • 44 Metascore
    • 40 Tim Grierson
    Pain Hustlers
    The film follows a slick, predictable rise-then-fall narrative structure full of boisterous montages when things are going well and sombre music once the good times end.
    • 68 Metascore
    • 70 Tim Grierson
    Rustin
    The film can sometimes be dramatically simplistic, relying on perfunctory montages and creaky expositional dialogue, but Domingo ensures that Rustin is a layered and vibrant character, pushing Rustin to be bolder than it otherwise is.
    • 54 Metascore
    • 50 Tim Grierson
    The Critic
    The elegant tone undercuts the material’s inherent bite, ultimately defanging a picture that eventually shifts into a twisty thriller.
    • 83 Metascore
    • 100 Tim Grierson
    Janet Planet
    Janet Planet is alive with possibility, not just for the youngster but also for the remarkable writer-director who announces her big-screen ambitions with stunning force.
    • 81 Metascore
    • 80 Tim Grierson
    American Fiction
    American Fiction can be tender and also brutally funny, wise but also sometimes rushed in its attempts to tie up its many threads. The film is always alive with ideas and filled with compassion for its complicated characters, however. Like a good novel, it’s very hard to put down.
    • 77 Metascore
    • 80 Tim Grierson
    The Royal Hotel
    Garner and co-star Jessica Henwick navigate the picture’s mixture of drama, suspense and horror superbly, leaving the audience fearful that this slow-burn powder keg will eventually go off — although we’re not sure who the casualties will be.
    • 58 Metascore
    • 70 Tim Grierson
    Les Indésirables
    As with his award-winning debut, the French filmmaker sometimes risks heavy-handedness to make his points, but his argument’s brute force is amply persuasive.
    • 66 Metascore
    • 70 Tim Grierson
    Dumb Money
    An unusual underdog saga about an ordinary investor who inspired a grassroots movement that scared Wall Street’s major hedge funds, Dumb Money is a snappy, entertaining picture that taps into a lingering resentment about how rigged the financial markets feel to many Americans.
    • 57 Metascore
    • 50 Tim Grierson
    Dicks: The Musical
    The picture’s initial comic energy proves hard to sustain even with a short runtime, though, as the jokes start to feel strained and the numbers grow uninspired.
    • 63 Metascore
    • 80 Tim Grierson
    A Haunting in Venice
    A confection that is equal parts murder mystery, old-fashioned ghost story and supernatural thriller, the third instalment of Kenneth Branagh’s Hercule Poirot series proves to be the most enjoyable.
    • 59 Metascore
    • 50 Tim Grierson
    Quiz Lady
    The film finds an unexpected way to reach its happy ending, but ultimately Quiz Lady is a fun premise seeking a sharper execution — unlike the brilliant Anne, Yu and her cast don’t have all the answers.
    • 52 Metascore
    • 40 Tim Grierson
    Reptile
    Grant Singer’s feature directorial debut suffers from an overinflated sense of grandeur and a frustratingly convoluted story, reaching for dramatic heights that it hasn’t earned.
    • 91 Metascore
    • 80 Tim Grierson
    The Boy and the Heron
    Drawing from elements of his own childhood, Miyazaki has dreamed up a fantastical environment in which anything seems possible — including the potential to remake oneself.
    • 54 Metascore
    • 50 Tim Grierson
    Strays
    Will Ferrell and Jamie Foxx are clearly enjoying themselves voicing their very different characters — Ferrell naive and energetic, Foxx cynical and streetwise — but apart from a few inspired moments, the outrageousness soon drags.
    • 52 Metascore
    • 50 Tim Grierson
    The Last Voyage of the Demeter
    Adapted from a chapter in Bram Stoker’s novel, the picture initially has some gory fun with its close-quarters suspense, but Ovredal unsuccessfully tries to elevate his monster movie with flimsy psychological depth and unconvincing emotional underpinnings.
    • 48 Metascore
    • 50 Tim Grierson
    Gran Turismo
    Neill Blomkamp puts the pedal to the metal with Gran Turismo, a high-octane underdog sports drama that boasts electrifying race-car sequences but a badly cliched narrative away from the track.
    • 40 Metascore
    • 40 Tim Grierson
    Meg 2: The Trench
    Lacking the killer instinct of its ferocious titular beasts, Meg 2: The Trench lumbers through the waters, failing as both a gripping thriller and a cheeky ’so bad it’s good’ piece of late-summer escapism.
    • 74 Metascore
    • 80 Tim Grierson
    Teenage Mutant Ninja Turtles: Mutant Mayhem
    Irreverent and action-packed without sacrificing charm or emotional resonance, Teenage Mutant Ninja Turtle: Mutant Mayhem takes a page from the recent Spider-Verse animated films to bring a hip, youthful energy to a very familiar piece of IP, in the process giving us a story that’s fresh and funny.
    • 47 Metascore
    • 40 Tim Grierson
    Haunted Mansion
    Despite an appealing cast and some nicely executed moments (not to mention some direct references to the original attraction) Dear White People director Justin Simien’s third feature is mostly a dispiriting experience.
    • 54 Metascore
    • 60 Tim Grierson
    Sympathy for the Devil
    Director Yuval Adler taps into the lean story’s Collateral-like intrigue but, outside of Cage’s hair-trigger antics, there is not much surprise here — especially when the filmmaker unveils a twist most will see coming down the road.
    • 90 Metascore
    • 100 Tim Grierson
    Oppenheimer
    Nolan demonstrates his usual prowess for impeccable visuals and stunning craftsmanship within a deeply despairing portrait of an arrogant genius who, too late, realised the impact of his monstrous creation.
    • 75 Metascore
    • 70 Tim Grierson
    My Name Is Alfred Hitchcock
    For all the gambits that end up feeling like gimmicks, My Name Is Alfred Hitchcock never stops churning with ideas and ambition. The film pays Hitch the highest compliment by trying to follow his example and never do the expected thing.
    • 81 Metascore
    • 80 Tim Grierson
    Mission: Impossible – Dead Reckoning
    Brimming with confidence and swaggering showmanship, Mission: Impossible – Dead Reckoning Part One further cements this series as a consistently dazzling action franchise.
    • 59 Metascore
    • 50 Tim Grierson
    No Hard Feelings
    In between the nudity and four-letter words, the film looks seriously at grief, arrested development and economic inequality, and there’s a sweet rapport between the two leads. A series of irritating plot twists and a predictable trajectory ultimately undercut Lawrence’s bravely brash portrait of a woman going nowhere fast.
    • tbd Metascore
    • 40 Tim Grierson
    Project Silence
    Project Silence presents us with a kaleidoscope of different characters all caught up in the same terrible nightmare, but very few of them have lively personalities – and the same holds true for the film itself. The dogs may be merciless, but Kim Tae-gon never goes for the throat.
    • 67 Metascore
    • 70 Tim Grierson
    The Blackening
    Even when the jokes occasionally fall flat, the ideas are killer.
    • 52 Metascore
    • 70 Tim Grierson
    Cobweb
    This affectionate hoot hardly breaks new ground with its film-within-a-film structure, but the South Korean auteur attacks the material with such good cheer, populating the story with a collection of daffy dreamers, that it’s easy to root for these characters as they reshoot the ending of a picture some of them are convinced is this close to being a masterpiece.
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