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. 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.
  2. Eternity
    Eternity might have worked if the three leads conveyed anything beyond jaded inertia in each other’s company. They are supposed to be consumed by a love so passionate it propels them into adventures beyond the grave. They look, instead, as if they could barely get out of their trailers.
  3. Oh. What. Fun.
    You know that your comedy is in crisis when you’ve substituted actual jokes for the grating rhythms of an oompah band. Still, Pfeiffer remains charismatic till the end. She deserved better.
  4. Fountain of Youth
    This Indiana Jones knock-off is staggeringly slapdash.
  5. Anemone
    It’s mostly a dirge, but the younger Day-Lewis has an artful eye and his indecently talented dad is clearly crying out for better material.
  6. Superman
    There are glimmers of intrigue, as well as quirks and curios.
  7. Reminders of Him
    The Colleen Hoover school of social realism is back — and this time it’s more idiotic than ever.
  8. Lee Cronin's The Mummy
    It looks great, and Cronin is a gifted stylist. But, as with his debut The Hole in the Ground, there’s too much slavish imitation and homage here. His greatest accomplishment is the downtime family scenes. They throb with easy realism. He should dump horror and do drama instead.
  9. How to Make a Killing
    There are some mildly diverting moments, and it’s pleasing to see Ed Harris emerge later on in a significant set piece. Like everything else in this ill-judged effort, his appearance is a wasted opportunity.
  10. 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?
  11. A Working Man
    It’s sloppily directed by David Ayer (Sabotage) with a depressing lack of urgency and a sense that everything here has been done better, more efficiently and with more emotional engagement before.
  12. 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.
  13. Apex
    This is a mildly distracting guilty pleasure romp that is undone by its own casting crisis.
  14. Beetlejuice Beetlejuice
    Keaton commits fully to the puerility demanded by the title role. And yet the mania feels consistently forced. The fun is diluted.
  15. Leave One Day
    There’s little dramatic jeopardy here and certainly no danger. Instead, by the closing credits Cécile has barely changed, and the musical around her has barely registered. Sorry, the film with songs in it.
  16. Maria
    This is a film fed by, and consistently cutting to, the operas that defined its subject. Yet there is not a single moment that is emotionally operatic. It is wilfully, wearily flat.
  17. Love Hurts
    It’s badly shot, full of pointless jeopardy-free action sequences, with a flat-lining story and airless characters poorly performed by floundering actors at their lowest ebb. The search continues for DeBose.
  18. Michael
    This is the quintessential Trump-era film, where difficult truths are met with bold-faced mendacity and where the director Antoine Fuqua (Training Day) and the screenwriter John Logan (Gladiator) have met the challenges of the Jackson story by simply drowning it in quasi-Christian, yes, bullshit.
  19. 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.
  20. The Electric State
    The look is mid-period Transformers. The dramatic tension non-existent. And the performances uniformly weak. This is top-dollar tedium.
  21. Rental Family
    Yes, it’s just awful. Fake, puke-inducing emotional dishonesty of the most absurd kind. Nothing here makes sense.
  22. Mortal Kombat II
    There is seemingly an ironic undertow to Urban’s character. He’s from “the Earthrealm”, aka Earth, and is a washed-up former action star in the Chuck Norris mould. It’s supposed to be a clever wink to the audience and a quirky acknowledgement that this is all pretty awful, right? As if joking about the stench of a sewer will somehow make it smell sweeter.
  23. 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.
  24. Lilo & Stitch
    The film instantly falls into the seemingly insuperable live-action remake trap — the deluded belief that simply putting the original on film, sometimes via a frame-by-frame copy, is enough in itself.
  25. Captain America: Brave New World
    It’s so inane and confused, in fact, that it suggests there are no storytelling iterations left for the Marvel Cinematic Universe other than, perhaps, a wounded retreat into the overloaded one-joke irony of the Deadpool flicks.
  26. Snow White
    Believe the anti-hype. It’s that bad.
  27. E.1027 - Eileen Gray and the House by the Sea
    Building a whole movie around leaden, titter-inducing chunks of ersatz anti-drama is madness.
  28. Smurfs
    The two Spider-Verse movies proved that brash and branded Hollywood entertainment does not have to sacrifice novelty and innovation. Smurfs, on the other hand? Profoundly, oppressively empty. There’s no reason to see it.
  29. Modi - Three Days on the Wing of Madness
    Every single scene here is about what the scene is about, creating the deepest vat of cinematic s**t imaginable. The screenplay is shamefully inept.
  30. Mercy
    Pratt is fine, and blandly likeable in the manner of a not-especially-demanding labrador, but the prospect of his blameless heroism is always depressingly inevitable and the identity of the real villain is conspicuous from almost the first scene.
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