Time Out London's Scores

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For 1,246 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Dark Days
Lowest review score: 20 The Secret Scripture
Score distribution:
  1. Positive: 512 out of 1246
  2. Mixed: 673 out of 1246
  3. Negative: 61 out of 1246
1246 movie reviews
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  1. Alien: Covenant
    Really, this is David/Walter’s show. For reasons too spoilery to give away, Fassbender is electric, giving a spectacularly skin-crawling performance.
  2. Veronica Mars
    There’s something rather bland about Veronica Mars – even the murderers have neat hair and nice clothes – and the largely forgettable cast don’t help. But the one-liners are sharp, the plot unpredictable and the whole thing ticks along with a minimum of fuss.
  3. The Wall
    The Wall isn’t a terrifically exciting thriller, but it’s thoughtful and fitfully suspenseful – a lean, character-driven and quietly rewarding film.
  4. Imperium
    It is solid and watchable, and Radcliffe is genuinely ace, giving a smart, understated and intelligent performance.
  5. The Broken Circle Breakdown
    Heldenbergh and Baetens pull you in with committed performances ­– their raw pain and grief is totally believable. But all that honest, intense emotion is thrown away as the film outstays its welcome by 40 minutes or so, piling one tragedy on to another.
  6. Okja
    The creature effects are charming.... But the pig-chasing antics and cartoonish corporate nastiness that dominate much of the film become seriously grating.
    • 52 Metascore
    • 60 Critic Score
    47 Meters Down
    In its atmospheric soundscape, cinematography, taut characterisation and storytelling, this is a very involving genre thriller.
  8. Lovelace
    Seyfried is fine but has little character depth to work with: Sarsgaard impresses with a more complex character, as does a barely recognisable Sharon Stone as Linda’s bitter mother. If only the whole film were as well-rounded.
  9. Into the Woods
    Into the Woods starts better than it finishes but it’s a great-looking film, with a nicely old-school, easy-on-the-CG feel.
  10. Genocidal Organ
    The film is let down by thin characterisation, struggling to generate much empathy with its square-jawed, tough-yet-troubled special-forces warrior heroes.
  11. 300: Rise of an Empire
    It’s all extravagantly daft, moves at a fair clip and is over before you expect it to be.
  12. Rio 2
    The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.
  13. Turbo
    Kids should be game for the ride, and the colourful characters offer humour and poignancy: Paul Giamatti’s cautious snail Chet shares a sweet friendship with reckless Turbo. Comparisons with Pixar’s ‘Cars’ are easy to make, but that’s no bad thing.
  14. I'll See You in My Dreams
    At its heart, is Danner’s lovely performance, vulnerable and smart behind the sarcastic façade, and sealed by a devastating karaoke performance of Cry Me a River that hints at the musical talent her character left behind in her youth.
  15. Foxcatcher
    It’s hard to say exactly what’s at fault here: the performances are flawless – Carell fully justifies his unlikely casting, while Ruffalo is as dependable as ever – and the script is astute, intimate and at times shocking. But there’s just no real life in the film.
  16. The Pirate Fairy
    There are some gorgeous Disney touches, rabble-rousing songs on the pirate ship and the usual ‘best friends for ever’ message.
  17. The Double
    Ayoade tips his hat to so many other filmmakers and writers that he leaves little room to consider anything other than what a good job he’s doing of distilling all his references into an effective Pinterest board of paranoia and alienation.
  18. Testament of Youth
    A beautifully acted but disappointingly stiff period drama.
  19. Welcome to Leith
    What Welcome to Leith does very well is dig deep and expose Cobb – and by extension the entire American neo-Nazi movement – as weak, confused and desperate, using a dying ideology as a way to feel less alone in the world.
  20. SHOT! The Psycho-Spiritual Mantra of Rock
    Narrated entirely by its subject – no famous faces popping up to tell us what a ledge he is – the film is intimate and crisply told.
  21. A Good American
    The picture it paints of America’s frontline intelligence services – confused, internally quarrelsome and completely in hock to corporate interests – is fascinating.
  22. Lion
    There’s plenty of warmth and compassion here, and the true story is a belter, but this ‘Lion’ doesn’t quite roar.
  23. Maps to the Stars
    What stops David Cronenberg’s grotesque noir Maps to the Stars, written by LA insider Bruce Wagner, from feeling tired is that it’s deliciously odd.
  24. Deepwater Horizon
    Accusations of tastelessness are bound to arrive, with some justification. If your priority is to respect the dead, why hire the director of Battleship?
  25. The Great Wall
    The Great Wall is not exactly a good movie – but it’s a pretty enjoyable one.
    • 58 Metascore
    • 60 Critic Score
    The Voices
    Directed by cartoonist-turned-filmmaker Marjane Satrapi (‘Persepolis’), ‘The Voices’ steamrolls over boundaries between genres and giddily ignores the limits of good taste.
  27. Manglehorn
    Pacino gives his most natural performance in years.
  28. Days of Grace
    Gout’s ambition pays off in a climactic flourish. And the assault-and-battery of camera tricks captures Mexico’s head-spinning everyday madness.
  29. Last Passenger
    First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.
  30. David Brent: Life on the Road
    Being stuck in a cinema with David Brent for 96 minutes can be trying (the lazy ending doesn’t help). But when Gervais is on an improvisational roll, Brent digging himself deeper and deeper into some awful pit of social awkwardness, we can’t help but remember why we love to hate them both.
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