The Times' Scores

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For 262 reviews, this publication has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Pride & Prejudice
Lowest review score: 0 The Super Mario Galaxy Movie
Score distribution:
  1. Positive: 124 out of 262
  2. Mixed: 117 out of 262
  3. Negative: 21 out of 262
262 movie reviews
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  1. Power To The People: John & Yoko Live in NYC
    It’s an exquisite portrait of a musical genius at work. And Yoko Ono.
  2. The Perfect Neighbor
    I’m not convinced that we have the moral right to watch some of these scenes and to witness a tiny traumatised boy at his most bereft and alone. Still, it’s an outstanding, provocative film that is bound to inspire debate. Watch it and discuss.
  3. Wallace & Gromit: Vengeance Most Fowl
    The fun, as ever, comes from a mix of familiarity and ingenuity.
    • 83 Metascore
    • 80 Critic Score
    Holy Cow
    A heartwarming coming-of-age story about a raw boy slowly ripening to manhood, this impressively mature debut is earthy, compassionate and never too cheesy.
  5. Pride & Prejudice
    The director Joe Wright’s roaming camera gives every exchange an unexpected urgency.
    • The Times
  6. Rose of Nevada
    MacKay and Turner acquit themselves handsomely with many silent stares, tortured looks and grimaces. Like all Jenkin’s films, it looks extraordinary and the deliberately “tinny” post-sync sound only adds to the sense that you are watching something ancient, meaningful and quite magical.
  7. Riefenstahl
    It’s not often that films get better on a second viewing, but this dense, challenging and intellectually rigorous documentary about “Hitler’s favourite film-maker” Leni Riefenstahl is one of those exceptions.
  8. Apocalypse in the Tropics
    Ending with uncertainty, and a sense that Brazil is never too far away from another military dictatorship, this is sobering, essential viewing.
  9. The Lodger: A Story of the London Fog
    Gorgeous. Gorgeous. Gorgeous.
  10. Weapons
    Where to start with this utterly gorgeous, commanding, terrifying and masterful suspense thriller? Firstly don’t believe the hype — it’s not a horror. It’s bigger than that. Not a slasher, a creeper, a spooker or a demented killer movie. It’s better than that.
  11. Paper Tiger
    The film is very much a paper tiger — what feels at first like a prestige production is ultimately toothless and unconvincing.
  12. The Voice of Hind Rajab
    It is deliberately punishing material, channelled through unapologetic, galvanising film-making. Politicians should see it. Decision-makers should see it.
  13. 28 Years Later: The Bone Temple
    Gosh, I hope that Ralph Fiennes’s back is OK. Because the 63-year-old certainly did a lot of heavy lifting in this latest instalment of the long-running zombie franchise. I mean that metaphorically, of course, because in this movie it’s up to Fiennes to provide the emotional, intellectual and comedic fireworks.
  14. Wake Up Dead Man: A Knives Out Mystery
    It delivers first giggles, then twists and gasp-inducing rug-pulls, courtesy of standout performances from a cast that includes Josh Brolin, Glenn Close and a never better Josh O’Connor. Not just that but Johnson’s probing script also explores the biggest conundrum of them all: God, faith and religion.
  15. Young Mothers
    It’s a decent film about an underexplored subject and adequately acted by a cast of inexperienced unknowns, but nothing we haven’t seen before from the determinedly low-key Dardennes.
  16. The Testament of Ann Lee
    The film, alas, and it pains me to say it, is not very good. It’s overwhelmingly, unfortunately, self-serious, and thus accidentally very Monty Python. There’s little dramatic tension and the music is close to agony.
  17. The Roaring Twenties
    One of the many classic movies from “the greatest of all years”, 1939 (see also The Wizard of Oz, Gone with the Wind and Stagecoach), this epic gangster flick dares to provide psychological back stories for the characters.
  18. The Mastermind
    This being Reichardt, white-knuckle thrills were unlikely to be on the menu either, but you would have hoped for something to engage with beyond a vague hum of disappointment.
  19. Babygirl
    The ending, like the best BDSM experiences (they say), is slightly contrived but very satisfying.
  20. The Christophers
    The film is too talky and play-like to properly satisfy as cinema, but if you can roll with the dramatic slenderness, the pairing of McKellen and Coel never ceases to be delicious.
  21. One to One: John & Yoko
    It is highly likely that Macdonald is making explicit connections between the US military industrial complex and the system of consumer-based capitalism that supposedly dulls the masses and funds the wars. But, sheesh, does it have to be such a drag?
  22. Warfare
    This is a movie that’s as difficult to watch as it is to forget. It’s a sensory blitz, a percussive nightmare and a relentless assault on the soul.
  23. A New Kind of Wilderness
    Jacobsen is an instinctive stylist and the film sometimes slips into cottagecore territory, complete with chunky knitwear and crepuscular lighting. Yet the truth of the family’s situation always surfaces, making the beauty hollow and the loss more keenly felt.
  24. The Chronology of Water
    You can’t lie in a close-up, which is lucky for Stewart. Because her lead actress, on camera throughout, expresses the kind of deeply moving primal agony and preternatural resilience that never once feels false, and ultimately compensates for the ostentatious nonsense around her.
  25. Blue Moon
    One of the most committed performances of Ethan Hawke’s career is cruelly undercut by some ridiculous “shrinking” tricks in this biopic about the Broadway songwriter Lorenz Hart.
  26. Frankenstein
    Once Jacob Elordi takes the stage as the monster — sorry, the creature — everything falls into place. It’s always the way of del Toro: the monsters are better than the men.
  27. Nosferatu
    It looks nice and, at best, it’s tapping some vague sexual anxiety about marriage-wrecking shaggers with big moustaches. But really ...
  28. Project Hail Mary
    Ryan Gosling on charisma overdrive and buckets of deadpan irreverence are enough to power this otherwise familiar sci-fi story to the highest possible entertainment orbit.
  29. Road Diary: Bruce Springsteen and the E Street Band
    If Zimny’s aim was to create, as far as possible, the experience of watching Springsteen live, then he succeeds. His sweeping shots and quickfire close-ups are dazzling. But there are longueurs in a film that spends a lot of time on the minutiae of fashioning a set list, and on some rather lifeless rehearsal-room footage.
  30. 28 Years Later
    The sense of hallucinogenic sweatiness won’t be to everyone’s taste but [Garland] and Boyle should be applauded for taking such big swings and having the flair and confidence to pull them off. It’s an astonishing piece of work.
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