The Times' Scores

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For 261 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 1.8 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 261
  2. Mixed: 116 out of 261
  3. Negative: 21 out of 261
261 movie reviews
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  1. Hallow Road
    Rosamund Pike and Matthew Rhys deliver a concentrated burst of parental trauma in this propulsive psychological thriller that’s set almost entirely inside a Land Rover late at night. It’s like Tom Hardy’s Locke but more intense.
  2. Friendship
    All of this, to be clear, is hilarious. Emotionally desolate, but hilarious.
  3. H Is for Hawk
    Ultimately this protagonist looks to nature and to Mabel in an admirable attempt to reconcile the ubiquity of death, the brevity of life and the urgent, though possibly pointless, search for meaning.
  4. The Tale of Silyan
    Arguments will rage about how much of this is staged and how much captured. The film-makers have labelled the film “a documentary fable” and that works for me. It’s that place where Ken Loach and David Attenborough meet. In the best possible sense.
  5. EPiC: Elvis Presley in Concert
    This is a celebration of the King doing what he did best, and loving every second.
  6. The Return
    It’s a testament to Binoche and Fiennes that the heat they create on screen is intense enough to solder any cracks. Their scenes together are riven with pain and resentment yet bound by love. These are two of the greatest living actors nailing two of the most iconic roles in Western culture.
  7. 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.
  8. Mickey 17
    He may have developed, produced and directed just one movie — this boisterous Robert Pattinson sci-fi comedy — but, yikes, has he packed a lot into Mickey 17.
  9. Unstoppable
    It leans away from formula and into the hard-knock-life of its protagonist.
  10. The Naked Gun
    This film isn’t particularly new or original but it’s just like its predecessors, which is more than enough.
  11. Orwell: 2 + 2 = 5
    In a project that took a full year to edit, with unfettered access to the Orwell estate’s entire archive, Peck proves impossibly adept at layering in seemingly disparate clips, quotes and footage without ever once losing sight of his central message. Much like Orwell, in fact, it’s the clarity of his polemic that impresses most.
  12. The Room Next Door
    In these intensely moving moments it feels as if the two artists — Joyce and Almodóvar — are connecting across time, desperate to express the ineffable, and keen to capture a creative moment that honours both the living and the dead.
  13. Last Swim
    The London kids are all right, and then some, in this sun-kissed love letter to teenage angst, human frailty and the uncommon beauty of the capital city.
  14. Cover-Up
    It’s a sobering riposte to the clickbait era.
  15. Wallace & Gromit: Vengeance Most Fowl
    The fun, as ever, comes from a mix of familiarity and ingenuity.
  16. The Hand That Rocks the Cradle
    Winstead, in her most fruitful role since 2012’s Smashed, is a powerhouse, while Monroe, though never camp, is frequently and fabulously boo-hiss.
  17. The Piano Lesson
    Mostly newbie director Malcolm Washington puts his trust in Wilson’s words, the play’s complex characterisations and the phenomenal performances from his never better cast.
  18. Christy
    Sweeney is also surrounded by a plethora of ace character actors, especially Merritt Wever as Christy’s sanctimonious mother Joyce, who compound the sense of a lead protagonist trapped within a hopeless, claustrophobic milieu. It’s a proper movie.
  19. 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.
  20. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    Concert films are often an underwhelming proxy for a fine night out, but Cameron’s technical virtuosity and storytelling verve bring the whole shebang to life — as does shooting in 3D. I’m no Eilish superfan, but I enjoyed it a lot more than the last Avatar flick.
  21. Zootopia 2
    Perhaps most delightful, though, are the carefully drawn supporting characters, with welcome returns for Flash the sloth and Maurice LaMarche, the Vito Corleone-esque arctic shrew. Truly an offer you can’t refuse.
  22. Clueless
    It’s difficult to overstate the reach of this Amy Heckerling teen standard.
  23. The Accountant 2
    Everything ultimately descends into an overblown and hyper-violent firefight south of the border, near Juárez. It is an action movie, after all. But it’s one of the good ones.
  24. The Map That Leads to You
    Hallstrom also works wonders with the principal cast, finding hidden depths in Cline and mostly neutralising Apa’s unnerving propensity for blinkless serial killer stares (it’s like he’s going for Blue Steel but just, well, misses).
  25. The Six Billion Dollar Man
    You really could not make any of this up.
  26. Resurrection
    This kind of unhinged ambition is what cinema does better than anything else.
  27. M3GAN 2.0
    It’s bigger, brasher, more inventive, more “roboty”, certainly more entertaining, but missing just a sliver of the first instalment’s raw-bones charm.
  28. Jurassic World Rebirth
    In the end, though, the pairing of Edwards with Koepp is the complementary master stroke. They are camera and script in harmony, deftly entwined for a franchise that is finally, after thirty years, worthy of rebirth.
  29. Hoppers
    There’s lots of fun here, some of the one-liners are exquisite and the helter-skelter finale is delightfully overstuffed. Frustratingly, it’s still second-grade Pixar.
  30. Romería
    A sensual reframing of a story that must still be raw for Simón, 38, the film doesn’t quite match the subtlety and originality of Summer 1993. It’s a satisfying enough addition to the saga, though, and a fillip for the Galician tourist board.
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