The Times' Scores

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For 278 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 2.1 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: 130 out of 278
  2. Mixed: 125 out of 278
  3. Negative: 23 out of 278
278 movie reviews
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  1. 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.
  2. The Uninvited
    The Uninvited is similarly haphazard and, even by the film’s shamefully saccharine finale, has little to say other than “life is short, and making movies sucks.
    • 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.
    • 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
  5. Thunderbolts*
    In the end the most radical element of this revamped Marvel entry is its suggestion that the problems of the world can’t be solved by a super-powered punch to the face, but by a heartfelt group hug. Sappy and saccharine, perhaps. But possibly the movie we need right now.
  6. The Friend
    Yes, the canine element is structurally paramount, and yes, Apollo the Great Dane, as played by Bing, is adorable and regally sad throughout. But this is pedigree material.
  7. The Ugly Stepsister
    Fans are calling this the Brothers Grimm meets The Substance but it’s better than that sounds. And certainly harder to watch.
  8. The Comeback Trail
    A witty premise and a muscular cast are cruelly betrayed by this flaccid Tinseltown satire that features Robert De Niro delivering one of the most wretchedly cartoonish performances of his career.
  9. Havoc
    Evans is a film-maker with an instinctive understanding of frame space (The Raid is a joyful camera ballet), but he seems constrained here. As a screenwriter he leaves no cliché unloved.
  10. Ne Zha 2
    This is nearly two and a half hours of eye-gouging spectacle with jabs of heartfelt emotion, deftly orchestrated by the relatively inexperienced writer, director and animator Jiaozi (remember the name).
  11. The Penguin Lessons
    Yes, it’s ostensibly sweet and inoffensive. But it’s so inoffensive that it’s almost, well, offensive.
  12. Freaky Tales
    The bogus tone is grating from the start. It’s vanilla Quentin Tarantino, featuring long, diner-based exchanges, inexplicably glowing boxes and sudden eruptions of violence. Yet, unlike Tarantino, the dialogue is bland, the violence augmented with CGI gore, the set-ups devoid of jeopardy.
  13. Sinners
    The ending’s a bit iffy, the action so-so. And yet the genre-mashing audacity (part horror, part historical epic, part musical) is so assured, the characters so rich, and the flights of fancy so ambitious that it’s impossible not to be moved.
  14. Death of a Unicorn
    It doesn’t help either that the cheap-looking CGI unicorns are wildly unconvincing or that Jenna Ortega, as Elliot’s disaffected daughter Ridley, seems to have wandered on to the set from a different and far more subtle movie.
  15. 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.
  16. Mr. Burton
    The film is so dewy-eyed about the process that made him a star, it overlooks the more devilish bits of the bargain. In truth all biopics ought to have some aspects of a cautionary tale: there but for the grace of God go we.
  17. 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.
  18. G20
    Unburdened by narrative logic, there is a joie de vivre in the way Davis, 59, throws men over her shoulder, elbows them in the face and sprays them with machine-gun fire.
    • 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.
  20. The Amateur
    It would be funny if it weren’t so dull and so strangely played by Malek, an actor who seemingly believes that a complex internal life is best illustrated by hyperactive facial muscles and the blinkless stare of a sullen zombie.
  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. Snow White
    Believe the anti-hype. It’s that bad.
  24. Black Bag
    Soderbergh knows his spy movies and so is careful to inject the film’s more cerebral proceedings with just the right amount of lore and giddy genre hokum.
  25. The Electric State
    The look is mid-period Transformers. The dramatic tension non-existent. And the performances uniformly weak. This is top-dollar tedium.
  26. 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.
  27. Last Breath
    Cole and Liu are grippingly believable, despite doing much of their acting through helmet visors, while Harrelson provides much-needed levity. The subaquatic cinematography conveys the vastness and terror of the open ocean.
  28. Opus
    Ayo Edebiri, the award-winning star of The Bear, is on typically charismatic form here, delivering droll reaction shots and angsty frowns aplenty on a one-woman mission to rescue this extraordinarily toothless celebrity satire and half-cocked horror.
  29. 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.
  30. 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.
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