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 1.2 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. Good Kill
    Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.
  2. Woman in Gold
    Mirren’s performance movingly evokes the travails and rewards of seeking an accommodation with a nightmare past. Yet the clunky, often superficial movie around her tames the anger and anguish of memory in favour of a well-meaning but pat, feelgood ‘prestige’ product.
  3. The Water Diviner
    The Water Diviner is solid and old-fashioned.
  4. Dior and I
    The pressure for minimalist Simons to succeed in the ultra-feminine world of Dior is intense.
  5. Blind
    It’s all presented as a playful cinematic puzzle by director Eskil Vogt’s confident direction and mischievous humour.
  6. Furious 7
    The sheer sense of ludicrous, punch-the-air joie de vivre is impossibly infectious.
  7. Dreamcatcher
    Dreamcatcher is harrowing.
  8. Dark Summer
    This has its moments, but offers a significantly weaker call on your time.
  9. A Second Chance
    The thriller tendencies here are as half-cocked as its compassion for the struggles of parenthood, even if there are some admirable, if hard-to-watch, moments when Bier refuses to turn away from horror and pain.
    • 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.
  11. The Gunman
    Thanks to ‘Taken’ director Pierre Morel, this too often feels like just another slice of brainless Eurotrash, packed with saw-it-coming plot twists, half-hearted car chases and an angsty hero with mega muscles and zero charisma.
    • 89 Metascore
    • 80 Critic Score
    The Tale of The Princess Kaguya
    Notwithstanding the fairytale set-up, this is not exactly a children’s film. ‘Kaguya’ demands patience and open-mindedness. In return, it offers an achingly nostalgic meditation on what it means to love, age and depart from this world with dignity. A fitting farewell.
  13. The Divergent Series: Insurgent
    What a waste of Shailene Woodley the Divergent franchise is turning out to be.
  14. Suite Française
    The film is not without its problems – Michelle Williams is an elusive lead, and a wide array of characters come at the expense of depth – but it’s a knotty, thoughtful piece of work nonetheless.
  15. Hyena
    Hyena is startling, claustrophobic and penetrating in its analysis of the blurred lines involved in doing good.
  16. Chappie
    This hugely entertaining oddity could never be mistaken for the work of any other filmmaker.
  17. Unfinished Business
    This limp, sometimes lifeless business-trip comedy can’t decide whether to aim for teenage boys or their fathers. So it plumps for – and misses – both.
  18. Catch Me Daddy
    Catch Me Daddy feels authentic and informed, but wears its research lightly and prefers to thrust us into the atmosphere of the moment rather than offer too much background or tie things up neatly.
  19. The Boy Next Door
    Props to director Rob Cohen for making a gender-flipped 'Fatal Attraction’. But The Boy Next Door really should be a lot juicier.
    • 42 Metascore
    • 40 Critic Score
    Backstreet Boys: Show 'Em What You're Made Of
    This tale of the manufactured pop group – fractured by fall-outs and drug abuse and now trying to ‘find’ themselves as they reflect on their career – is nauseating even for a long-term fan.
  21. White God
    If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.
  22. The Second Best Exotic Marigold Hotel
    Luckily, there are just enough truths about ageing beneath its corny, farcical surface. Also, it’s hard not to enjoy two hours in the company of this cast.
  23. It Follows
    It’s impossible adequately to describe the haunting intensity of It Follows: this is a film that makes a virtue of silence, that lives in the shadowy spaces between the splattery kill scenes that punctuate your average stalk-and-slasher.
  24. Focus
    The chassis may be slick and speedy, but under the hood Focus lives up to its Ford-produced namesake: sturdy but not exactly stimulating.
  25. Eastern Boys
    It’s an uneven work, mysterious in its refusal to tell us much at all about Daniel, but it has a ring a truth to it even when it slips into less enigmatic thriller territory.
  26. Cinderella
    It’s all very sweet and harmless, though you can’t help wishing that Cinders got her happy ending for more than being kind to her digital mice and weathering a lot of crap with a never-ending smile on her face.
  27. Maidan
    Don’t watch this doc for a lesson in the crisis. Maidan is hard work, with no voiceover or interviews and just the odd scrap of information written on screen to guide you through.
  28. The Wedding Ringer
    The plot’s old, the title’s borrowed and the jokes are blue – but there’s nothing remotely new in this wearying bromantic comedy.
  29. Kumiko, The Treasure Hunter
    The result is a fascinating – at times illuminating – tightrope act, but rarely an enjoyable one: for all its luminous outsider’s-eye photography and painstaking, perfectly pitched performances, both the film and its shivering heroine prove difficult to warm to.
  30. Knight of Cups
    Let’s not kid ourselves: cast-iron interpretations of Malick’s recent filmmaking are risky. It’s also a matter of taste. You either slip into the pretty, dreamlike, wistful groove of his later films or you don’t, and even hardened arthouse film lovers may find Knight of Cups way out of their comfort zone.
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