The Times' Scores

Select another publication »
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
view
per page
  1. Kraven the Hunter
    It remains ludicrous to the end but it’s never anything less than entertaining.
  2. Fuze
    The twists are many and some predictable, but the mood here is mostly, and unapologetically, guilty-pleasure hokum.
  3. Magazine Dreams
    Majors plays the central character, Killian Maddox, with subtlety and sensitivity.
  4. It Was Just an Accident
    The screaming and shouting eventually detract from the drama, although perhaps Panahi is making a point about the hysteria of Iran’s rulers. He is certainly making a point about the traumatising effects of their cruelty, with which he is intimately familiar.
  5. Good Fortune
    In the end Good Fortune is perhaps too ambitious, and indulges in too much sermonising, especially when Gabriel also joins the human workforce and, like Jeff, experiences financial hardship. Reeves is good value as the clueless angel but an unfortunate sense of repetition sets in.
  6. Highest 2 Lowest
    Sometimes, a couple of scenes can make all the difference.
  7. Words of War
    It works. Peake is that good. Isaacs is also that good. And the subject is compelling and timely.
  8. Paddington In Peru
    Well, the bad news is that Paddington in Peru isn’t as good as Paddington 2. The good news is that Wilson has made an entertaining and endearing yarn that is worth 106 minutes of your time.
  9. Marching Powder
    It’s left to Leonidas, in the only substantial female part, to steal the show. She plays Dani with an easygoing naturalism that bestows some much needed soul upon the project and suggests that Love might yet have a glittering future ahead in women-centred melodramas. If only he could ditch the swaggering.
  10. Night Always Comes
    The supporting character interactions can be creaky and stiff, as if the director Benjamin Caron was so convinced of Kirby’s prowess that he presumed she could carry the film, flaws and all. And she almost does. Almost.
  11. 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.
    • 66 Metascore
    • 50 Critic Score
    When Boys Leave Home
    [Hitchcock] has managed to breathe some life into it. He has not made it credible--that would be expecting too much--but he has at least made it seem far less ridiculous than one could possibly have expected. [12 Oct 1927]
    • The Times
      • Posted Apr 30, 2025
  13. Wild Diamond
    The film hovers uneasily in a narrative grey zone, post-audition yet pre-show, and repeatedly castigates social media and reality TV for turning a generation of human beings into vacuous, camera-ready twits.
  14. Paper Tiger
    The film is very much a paper tiger — what feels at first like a prestige production is ultimately toothless and unconvincing.
  15. Mountainhead
    It has its moments, mostly in the initial set-up. And Armstrong still lands a few zingers.
  16. Mother's Pride
    So why two stars? Because it’s inoffensive and criticising it feels like punching down. And because Martin Clunes, playing a grouchy landlord, is really quite good.
  17. Gladiator II
    The film is peppered with alarmingly dull and horribly written sequences featuring water-treading conversations about democracy, power and the dream of Rome. In short, no, we are not entertained.
  18. Eddington
    It’s an ambitious contemporary western shot last year yet set in the summer of 2020, and ostensibly aims, in almost every scene, to analyse and ridicule the political obsessions and digital neuroses that dominated that moment. And, well, it’s quite the mess.
  19. Elio
    Nothing here resonates and its slavish adherence to recent Pixar formula is ultimately deadening. Yes, Elio, you are unique and wonderful. Your flaw is your gift. Now, please, can we all go home!
  20. F1: The Movie
    There’s an unashamedly “enthusiastic” cross-promotional quality to the film, like a two-and-a-half-hour Formula 1 commercial, that never quite gels with its hoary central story.
  21. Brides
    Fall is an instinctive visual storyteller, the two leads have a winning chemistry, and the location shooting in Istanbul is vivid and authentic. Just a shame the film is less so.
  22. Joker: Folie à Deux
    The director Todd Phillips said there would be no follow-up to the original, but he changed his mind and the result is a derivative musical.
  23. 2073
    The problem with this is that it howls at everything and nothing, while also using the kind of conspiracy theorising about sinister global cabals that’s more suited to foam-flecked podcasters and Elders of Zion loonies.
  24. Spinal Tap II: The End Continues
    It just coasts, with breathtaking laziness, on the power of nostalgia, and it seemingly hopes that the sight of our beloved trio gathered together, mostly on chairs and improvising badly, will be enough in itself.
  25. Queer
    It’s visually appealing, obviously, because Guadagnino does not make ugly films. But it’s difficult to convey how little, dramatically speaking, is happening here.
    • 46 Metascore
    • 40 Critic Score
    Rust
    The most memorable aspect is also the best memorial to Hutchins’s skills — the on-screen composition of beautiful, open landscapes, captured in daytime and dusk, and at night the flickering of fire illuminating Baldwin and McDermott’s faces as they talk.
  27. The Rule of Jenny Pen
    We are simply beaten into bored submission — yes, we get it, he’s maaaaaaad! There are also glaring plot holes and contrivances aplenty. By the closing-reel murder it’s almost impossible to care.
  28. 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.
  29. How to Train Your Dragon
    It’s loud and diverting and very young children are sure to be entertained. But it’s also utterly dead, right down to its hollow, greedy, cash-grabbing core.
  30. Wolfs
    A painfully derivative buddy movie.
Page:

Top Trailers

See all »
See all trailers »