Time Out's Scores

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For 6,375 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,477 out of 6375
  2. Mixed: 3,423 out of 6375
  3. Negative: 475 out of 6375
6375 movie reviews
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  1. Indiana Jones and the Dial of Destiny
    Oddly, the comedy of this partnership is dialled down, and the film’s few wisecracks don’t really land. It’s adventure, though, that everyone really wants from an Indiana Jones movie, and on that front it delivers and then some by prising open the old box of tricks and performing them one-by-one with care and respect. Add to that the rousing familiarity of John Williams’s score, and it all amounts to a comforting if not especially challenging reboot.
    • 61 Metascore
    • 60 Critic Score
    3 Men and a Baby
    It is shamelessly sentimental, and could well send the hardboiled home to kick the cat.
    • 56 Metascore
    • 60 Critic Score
    Flesh+Blood
    It's hamstrung by leaden dialogue and the motley international cast - Python and the Grail are never that far away - but it's admirably unsentimental and by no means stupid.
    • 46 Metascore
    • 60 Critic Score
    White Sands
    In the absence of real substance, Donaldson's stylish direction borders on the self-conscious, though cinematographer Peter Menzies Jr captures images of startling richness and clarity.
  5. Red Flag
    Though often funny, there’s a reverse narcissism in the way Karpovsky wallows in his “character’s” off-putting flaws.
  6. Crude
    Berlinger is fully invested here, but a little distance might have helped.
  7. Shoshana
    As a take on a very difficult topic, made even more so by current events, this is admirable and handsomely executed, but it’s rather like walking through a museum exhibition: it’s packed with fascinating detail, but doesn’t let you close enough to touch it.
    • 40 Metascore
    • 60 Critic Score
    RoboCop 3
    The familiarity of the high-armour shoot-outs and sfx-assisted set-pieces make most of this sequel feel surprisingly low-tech. Not bad entertainment, though.
    • 65 Metascore
    • 60 Critic Score
    The Gambler
    Reisz's direction is panoramic, with aspirations towards the epic, when it should have been closer in and faster. The result is a highly melodramatic and romantic film, for all the veneer of disillusion, whose weighty statement too often swamps the potentially strong suspense.
  10. The Soft Skin (1969)
    Redemptively, the cast goes a long way: Jean Desailly is perfect as a jowly literary celeb deep in midlife crisis, while the aloof Françoise Dorléac is magnetic as his airline stewardess and all-too-scrutable love object.
  11. Sausage Party
    As with 1999’s deceptively deep South Park: Bigger Longer & Uncut and, more recently, The Lego Movie, the script works hard to invest its scenario with an existential and political dimension, crudely but effectively expressed.
  12. Inna de Yard
    Inna de Yard becomes more like a concert movie, with a spine of cultural history, than a narrative documentary.
    • 58 Metascore
    • 60 Critic Score
    The Tree
    The movie's mundane account of moving on is ultimately more gripping than its wooden metaphors.
  14. Ballplayer: Pelotero
    Essential, if artless, baseball exposé.
  15. Our Brand Is Crisis
    The dueling dirty tricks zing half the time.... But subplots involving naive volunteers getting their hearts broken feel like strands from a less ambitious movie.
  16. Long Shot; The Kevin Laue Story
    Long Shot confirms that achieving one's goals is rarely possible without the staunch support of others.
    • 68 Metascore
    • 60 Critic Score
    For Whom the Bell Tolls
    As an American fighting with the partisans in the Spanish Civil War, Cooper makes a perfect Hemingway hero, robust and romantic in equal measures. Falling in love with Ingrid Bergman's peasant guerilla makes a lot of sense too, but the film's a mess dramatically. Wood approaches the material with kid gloves, when Hemingway was always a bare-knuckle fighter.
  18. Cuckoo
    Sure to be a cult classic, it’s quite literally cuckoo – and often gloriously so.
  19. Zero Bridge
    Writer-director Tariq Tapa-who shot much of this vérité-style film by himself-does a beautiful job attuning us to Dilawar's drifting routine, but what's especially striking is how he gives equal weight to the supporting characters.
    • 50 Metascore
    • 60 Critic Score
    The Son of Kong
    The film was rushed out to capitalise on its predecessor, with none of the subtext, but the animation is up to scratch, the action and direction efficient, and there is a nice melancholy to Denham’s regret for his previous conduct, which aptly prolongs the mournfulness of the original’s ending.
    • 70 Metascore
    • 60 Critic Score
    Ceddo
    Within this spare plot, Sembene raises issues of obvious pertinence to modern Senegal, such as the tension between spiritual and temporal power, Princess Dior's renunciation of her role of victim to take decisive action, and village leaders who are only too willing to betray their Africanness to maintain the status quo.
    • 58 Metascore
    • 60 Critic Score
    Child's Play
    While some of the supernatural stuff about witch-doctors and Mojo dolls is a bit daft, Holland's sure handling of the suspense and shock moments lends the film a sharp and scary edge.
  23. Girls of the Sun
    There are powerful and enlightening scenes, and there’s a catchy energy to the battlefield action. But the immediacy and credibility of the women’s mission feels compromised by one-too-many corny moments, unconvincing dialogue and a sense of uncertainty on Husson’s part over whether she wants to take a poetic or realist approach to her tale.
    • 71 Metascore
    • 60 Critic Score
    A Perfect World
    The director manages mostly to avoid the enormous maudlin pitfalls of his material, at least until the over-extended final scene. As usual with Eastwood, little is overstated - and the accent is on humour.
    • 59 Metascore
    • 60 Critic Score
    Murder by Death
    Murder by Death is entertaining enough, even though the joke wears a little thin.
  26. Fantastic Beasts: The Crimes of Grindelwald
    The second part in the ‘Harry Potter’ spin-off provides twists and glorious visuals, but has too much plot to truly soar. These beasts are overburdened.
  27. Escape Plan
    No new ground is broken, and viewers will, not unpleasantly, get everything they expect. It’s apparently morning in America again.
    • 65 Metascore
    • 60 Critic Score
    The Seduction of Joe Tynan
    Once again Schatzberg proves himself a strong director of actors, but keeps the film within the safe confines of semi-sophisticated Adult Entertainment.
  29. The Call of the Wild
    Harrison Ford brings his gruff charisma but this man-and-CG-dog adventure gets a bit lost in uncanine-y valley.
  30. Red Hill
    When the movie keeps its focus on retribution and Rambo-esque ambushes, however, this slice of Ozploitation doles out grind-house pleasures by the dozens.
  31. Dissolution
    Only Dissolution's divine climax feels truly poetic. Having the stamina to not break down on the journey to that moment is half the battle.
  32. The Providence Effect
    Swooning but shallow.
  33. Eden
    What begins as gritty realism ends up as the usual made-for-cable melodramatics—an apple that’s always better left unbitten.
    • 58 Metascore
    • 60 Critic Score
    Mean Girls
    2024’s Mean Girls needed to be loud, full-throated and unashamed to steal the original’s glittering plastic tiara: instead, it’s an enjoyable exercise in nostalgia that won’t win too many superfans of its own.
  35. The Three Stooges
    The metafriction between these classic dupes and today's idiots chafes uneasily.
  36. Kisses
    No one would claim that director Lance Daly delivers an Emerald Isle version of "The Spirit of the Beehive," though this scrappy film does have a knack for capturing the elation and confusion of late childhood in their ragged glory.
    • 69 Metascore
    • 60 Critic Score
    3 Backyards
    Only Falco gets beyond being merely a symbol for suburban angst.
  38. Les Coquillettes
    You don’t have to be a filmmaker or a festival veteran to appreciate Sophie Letourneur’s tale of three women cruising for dudes at Locarno’s annual cinematic shindig, but trust us: It helps immensely.
    • 50 Metascore
    • 60 Critic Score
    La Syndicaliste
    La Syndicaliste is a weird footnote to Huppert’s long career, one that feels hampered by its ‘true story’ status to the point where it can’t really say much about anything. It’s quietly intriguing. But let’s hope her next outing gives her something that’s really worth dressing up for.
  40. American Promise
    While Stephenson and Brewster’s big-picture attempt to tackle a sociopolitical issue from the most personal of perspectives lacks the state-of-the-nation impact of that landmark doc, it doesn’t mean you won’t feel the pleasure of these kids’ triumphs, the pain of their tragedies or the pressures of ambition, affecting parents as much as students.
  41. Citadel
    The more that fright-flick conventions take over, the more the movie's recognizable and resonant human fears are dulled.
  42. Avatar
    The question lingers as the movie comes to its triumphant body-swapping close: Is this a pro-environment parable or a prophecy of virtual realities yet to come? Cameron's new world may very well be a verdant Matrix.
  43. Trucker
    You sense the Demme-esque working-class comedy that might have been.
    • 40 Metascore
    • 60 Critic Score
    Beneath
    Although Fessenden does fine work shooting his equivalent of Lifeboat, the movie’s surface is often rough. Yet the title doesn’t just refer to what lurks in the lake’s still water. It’s a guide to where Beneath’s substance lies, the acid heart inside its plastic chest.
    • 63 Metascore
    • 60 Critic Score
    Eureka
    While the weight of Roeg's success is usually stylistic, this is more of a harkback to the cosmic scale of The Man Who Fell to Earth, with enormous themes streaming through a strange tale.
  46. Zombieland: Double Tap
    Heroically, Double Tap’s new actors, rare though they are, save it from being completely brain-dead.
  47. Starlet
    Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
  48. Ultras
    Finding positive manifestations for mass groups of men marching through cities in identical clothing is no mean feat, but you’ll walk away from Ultras with a new understanding of a misunderstood phenomenon.
  49. The Kids Are All Right
    Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest.
  50. My Brother the Devil
    Even those who aren’t well-versed in the-’hood-always-wins dramas can see what’s coming. So it’s to newcomer Sally El Hosaini’s credit that she embeds a tangible, lived-in sense of the region’s diaspora community and urban criminal underbelly (wagwan, near-indecipherable East End patois!) that’s leagues away from anthropological fetishizing.
  51. Violeta Went to Heaven
    A rare Chilean film that doesn’t mention either the Allende or Pinochet regimes, Violeta Went to Heaven is a love letter to a lost 20th-century goddess. It’s hard to resist her.
  52. The Runaways
    There's lots of volume in these tunes--the soundtrack is killer--and at least everyone gets their rocks off.
  53. The Idea of You
    It’s not quite Roman Holiday, but it’s got a charm of its own.
    • 69 Metascore
    • 60 Critic Score
    How to Make Money Selling Drugs
    The question posed by the title of Matthew Cooke’s documentary seems to have a simple answer: Sell drugs. Lots of them. But this dope dealers’ DIY manifesto isn’t quite the illustrated instruction manual it sardonically promises to be, as Cooke talks to many a former pusher, from legendary kingpin “Freeway” Rick Ross to small-timer 50 Cent.
  55. Murder by Decree
    Not entirely successful, but still an imaginative and ambitious attempt to combine historical speculation, conspiracy thriller, and the world of Conan Doyle.
  56. Centro Histórico
    The extreme variance of style and scrutability makes for wildly disorienting viewing.
  57. Enzo Avitabile Music Life
    The scenes of the film’s exuberant, frizzy-haired protagonist wandering Naples and revisiting old haunts, however, seem much more unfocused—a ramshackle search for insights into the man’s art and life that rarely come. The instruments are in tune, but the rhythm is off.
  58. Wild
    Unfortunately for us, Dern — only seen in flashback — isn’t the main character.
  59. Late Night
    The most radical observation Late Night makes concerns the extreme maleness of showbiz that turns women into rivals. But the film brushes over this insight and ultimately falls short of even its more modest intentions.
    • 87 Metascore
    • 60 Critic Score
    Medium Cool
    A fascinating though not wholly successful fusion of cinéma-vérité and political radicalism.
    • 79 Metascore
    • 60 Critic Score
    Underground
    Played as broad, noisy black farce, the film is about the deception of politics and heroism, dog-eat-dog morals and the propensity for violence, but one can't help thinking that behind the sometimes sensational apocalyptic imagery, there's less here than meets the eye.
    • 76 Metascore
    • 60 Critic Score
    Nanking
    The first-person recollections of Nanking’s survivors are as uncommonly wrenching as their captors were brutally thorough.
  63. Out of the Blue (1980)
    Hopper keeps things light and off-the-cuff, allowing his performers free rein - sometimes too much, as in the case of the screechy and shrill Farrell - to explore grim territory without falling into heavy-handedness.
  64. Ready or Not
    As games go, this one’s a little too easy to outfox, but it’s worth playing if you need a quick diversion, or if the chess moves of The Favourite felt overly vicious—Ready or Not is pure checkers.
    • 62 Metascore
    • 60 Critic Score
    Fear of a Black Hat
    While individual interviews, pop-video parodies and album titles hit the mark, the film as a whole is insufficiently clear-cut in its satire of the bands' dubious antics and attitudes.
  66. The Myth of the American Sleepover
    Swaddled with a lacquer of nostalgia that passes for cultural insight, this one-night-in-sweatpants drama will make you yearn for a moratorium on teen movies-at least ones so aggressively dewy-eyed.
    • 51 Metascore
    • 60 Critic Score
    Robin Hood: Prince of Thieves
    The mix of comedy, '90s sensibility, and swashbuckling action is more hit than miss, even if the overall effect is rather slapdash. Spirited, irreverent stuff, but not for those who like their myths kept sacred.
  68. Transformers: The Last Knight
    Clangorous and nonsensical, the fifth installment of the toys-to-world-saviors franchise still has a spark of grandeur that could only come from one director.
  69. Eileen
    Eileen feels like a less-than-daring portrait of obsession.
  70. The Split
    Flemyng's direction is efficient if lacking in real flair, but Burnett Guffey's crisp camera-work, the taut plotting, and the generally high standard of the performances make for a pleasing, if undemanding modern noir thriller in the tradition of The Killing and The Asphalt Jungle.
  71. Deadpool & Wolverine
    Still, cumbersome plotting aside, there’s enough gory mayhem and genuine zingers to make Deadpool & Wolverine a fun ride in a packed and up-for-it cinema.
  72. Bad Times at the El Royale
    As with his first directorial effort, the ace meta-horror The Cabin in the Woods, Goddard has a blast toying with genre expectations, although here the payoff is a lot less satisfying.
    • 74 Metascore
    • 60 Critic Score
    My Old Ass
    Don’t expect too many boundaries to be pushed – that’s not Park’s intention here – but settle in for plenty of big laughs and relatable truths.
  74. In Another Country
    No exchanges flare into true weirdness; rather, the mood is lingering and tentative. Undoubtedly, this is the movie's intent, but it's a fairly banal comment on foreign estrangement (or love) that could have used some roughing up.
  75. Minions: The Rise of Gru
    Short on plot, long on silliness, the return of the little yellow troublemakers is a fun but fleeting helium high.
    • 58 Metascore
    • 60 Critic Score
    The Way of the Dragon
    The film has the roughness you might expect in a first directorial effort, and also a perhaps unexpected leaning towards comedy. Lee makes great play on his character as the country boy without weapons confronting the denizens of the technologically-powerful West and winning hands down.
    • 49 Metascore
    • 60 Critic Score
    Starbuck
    What could have been one long, smutty joke ends up turning into a moving slice of midlife.
  78. Upstream Color
    No one is going to explain any of this for you — and the slightly snobby implication of Upstream Color is that explanations are for suckers.
    • 55 Metascore
    • 60 Critic Score
    American: The Bill Hicks Story
    Hicks is undoubtedly missed, but this attempt to commune with this social critic's spirit falls frustratingly short of his brilliance.
    • 70 Metascore
    • 60 Critic Score
    I Am Divine
    I Am Divine shows how the future John Waters muse transformed from an isolated, weird kid into an over-the-top, proudly freakish star who influenced everything from the aesthetics of first-wave punk to the performance style of today’s drag queens.
  81. Million Dollar Arm
    What keeps you watching is the charisma of the performers: Hamm does an amiable riff on his Don Draper persona (he’s cynical before the big melt), Lake Bell is a delight as his tart-tongued love interest, and Sharma and Mittal are all charm as the cultures-uniting underdogs.
    • 72 Metascore
    • 60 Critic Score
    The Killers
    Like its predecessor, Siegel's version is at its best while setting up the chillingly ruthless detail of the opening execution (here unnervingly set in an asylum for the blind), less satisfying when it starts providing an answer to the mysterious passivity of the victim (Cassavetes).
    • 87 Metascore
    • 60 Critic Score
    Jane
    The story itself is fascinating. And for any wannabe explorers out there, there’s joy to be found in hearing about how one woman fulfilled her wildest childhood dream.
  84. Life Partners
    Sweet but unambitious comedy.
  85. Nothing Personal
    With both hostility and compassion, the damaged duo slowly come to understand themselves and their respective pain-a familiar path that's energized by subtle lead performances, a tactile sense of place and surprising insight into the way people connect as they help each other heal.
    • 60 Metascore
    • 60 Critic Score
    Electrick Children
    The best moments in filmmaker Rebecca Thomas’s debut feature manage flashes of wide-eyed grace — that is, when the overly precious, half-formed story isn’t undermining her understated direction and the work of a fine cast.
  87. New World
    New World dishes out enough of the genre’s oldest pleasures to make it worthwhile.
    • 54 Metascore
    • 60 Critic Score
    Big Wednesday
    All this, along with the tremulous romanticism, might seem unbearably portentous were it not for some lovely comic moments - notably, Busey in the draft-dodging scenes - and the sheer exhilaration of the surfing footage.
  89. A Beautiful Day in the Neighborhood
    The film doesn’t know how innocent it wants to be. Establishing shots of Manhattan’s 1998 skyline arrive in the cutesy form of a colorful diorama, just like Mr. Rogers’s show, but that gesture feels utopian and unearned, not to mention a little boring.
  90. Dark Waters
    Of course we all hate insidious environmental destruction; it’s valuable to have movies about that. This one works fine enough. But let the other less-talented filmmakers make them.
  91. Bad Boys for Life
    The movie’s greatest accomplishment, though, is the way it brings some honest heart to Mike and Marcus’s partnership in the first half, before the traditional mayhem and profane banter take over.
  92. This Is 40
    It all comes down to the Big Birthday Party and a furious bike ride, which he's clearly done before, in "The 40 Year Old Virgin."
    • 58 Metascore
    • 60 Critic Score
    Storm
    Storm’s remarkable poignancy is made all the more palpable by its restraint.
    • 47 Metascore
    • 60 Critic Score
    La mission
    Bratt’s performance suggests enough subcutaneous rage to give the proceedings an edge, even when the sluggish narrative takes the slow-cruise ethos of its low-rider culture far too literally at times.
    • 40 Metascore
    • 60 Critic Score
    Tempest
    That old Shakespearean magic survives even this loosest of adaptations, and by the end one is wallowing in the length and indulgence of it all.
  96. Sarah's Key
    When Sarah's Key leans into the horror (as it should), it's harrowing. Alas, that's only half the time.
    • 60 Metascore
    • 60 Critic Score
    Our Idiot Brother
    Apart from the disastrously miscast Deschanel's dithering switch-hitter, the film's extended clan of uptight urbanites rings true - though their course-corrections don't.
    • 69 Metascore
    • 60 Critic Score
    The Other Dream Team
    Draws on archival footage and firsthand accounts from both players and outside observers to reveal the complex interaction of politics and athletics that colored the Euro-on-Euro competition.
  99. Military Wives
    The third act is bogged down with details of Kate’s backstory, and what should be a euphoric and cathartic finale is underwhelming.
  100. Evil Dead
    What really matters is seeing these pretty people get put through the gory wringer, and once the unholy spirit comes calling, Evil Dead more than delivers.
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