The Times' Scores

Select another publication »
For 250 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 1.6 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: 120 out of 250
  2. Mixed: 110 out of 250
  3. Negative: 20 out of 250
250 movie reviews
view
per page
  1. 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.
  2. 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.
  3. A Real Pain
    This is a story that is perfectly weighted between bleak and warm, poignant and irreverent.
  4. No Other Land
    The film is consistently gripping and harrowing, while including delicate moments of optimism, where Abraham and Adra enjoy quiet conversations (sometimes beautifully shot by Szor) over a hookah pipe at night. And then, inevitably, it is back to violence, conflict and hate.
  5. 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.
  6. Wallace & Gromit: Vengeance Most Fowl
    The fun, as ever, comes from a mix of familiarity and ingenuity.
  7. Emilia Pérez
    The songs are often exquisite, the duets heartbreaking. The performances are trophy bait, Saldaña’s especially. And the go-for-broke direction belies the notion that a septuagenarian like Audiard should be making movies of autumnal wisdom. This is a vivid, high-energy film, one of the year’s best.
  8. 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.
  9. The Apprentice
    This is the Donald Trump movie that you never knew you needed: full of compassionate feeling yet ruthless in analysis.
  10. Transformers One
    It’s loud, multicoloured and garish, like sticking your head inside a giant tin of Quality Street while someone whacks the outside repeatedly with a polo mallet. Only this time, for once, it’s slightly more pleasurable than that sounds.
  11. The Last of the Sea Women
    There are no solutions offered here, alas, other than a call for awareness, and the film instead remains a beautifully photographed and elegiac depiction of a lifestyle that’s slowly fading even as the women within it burn bright.
  12. Blitz
    Arguably the most heroic character in the film is the city. And Blitz is, instantly, one of the great “London Movies”.
  13. 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.
  14. 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.
  15. 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.
  16. The Brutalist
    The performances are savagely good, with Pearce and Brody both on awards season form. And it’s shot on rarely seen 70mm film stock, which means that it looks like something beautiful, haunting and strange, but always from the long-forgotten past.
  17. Wolfs
    A painfully derivative buddy movie.
  18. Babygirl
    The ending, like the best BDSM experiences (they say), is slightly contrived but very satisfying.
  19. 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.
  20. Beetlejuice Beetlejuice
    Keaton commits fully to the puerility demanded by the title role. And yet the mania feels consistently forced. The fun is diluted.
  21. Pride & Prejudice
    The director Joe Wright’s roaming camera gives every exchange an unexpected urgency.
    • The Times
  22. Clueless
    It’s difficult to overstate the reach of this Amy Heckerling teen standard.
  23. Withnail and I
    Robinson's curlicued dialogue and the excellent performances make for rich entertainment; the fusion of writing and acting is particularly fine in the case of the drunken, self-consciously eccentric Withnail, whose many great lines are perfectly delivered by Richard E Grant.
    • The Times
  24. Darling
    Up there with Blow-Up and Alfie as the definitive Swinging London movie, this Julie Christie breakout has somehow acquired more gravitas over time than those two.
    • 94 Metascore
    • 80 Critic Score
    His Girl Friday
    They no longer make the fizzing, dangerous compound that is Cary Grant and Rosalind Russell’s chemistry in His Girl Friday.
  26. 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.
  27. The Lodger: A Story of the London Fog
    Gorgeous. Gorgeous. Gorgeous.
Page:

Top Trailers

See all »
See all trailers »