Time Out's Scores

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For 6,389 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 3.5 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: 2,483 out of 6389
  2. Mixed: 3,431 out of 6389
  3. Negative: 475 out of 6389
6389 movie reviews
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  1. I Am Ali
    Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
    • 58 Metascore
    • 60 Critic Score
    Twice in a Lifetime
    While there is an admirable depiction of 'real' people at work or settling down for the big match with a six-pack, the material is still no more than the great middle class drama of adultery, worked out with its very familiar rows and guilts. The acting, however, is a fascinating primer in just who can handle the medium. Burstyn and Madigan come out as if born to the art.
  3. Showing Up
    From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.
  4. Greed
    There’s righteous fury here, and while Winterbottom and Coogan’s sincerity isn’t in doubt, it feels like they’re coasting a bit. There are laughs, but no surprises and not much heart. They have no love for this guy, but as a result, we’re left with something a little one-dimensional.
    • 41 Metascore
    • 60 Critic Score
    Gator
    Too much of this is tedious, rather like off-cuts from his recent movies, but the reasonable photography and good action material help. Country singer Jerry Reed makes a good heavy, and when Reynolds keeps it simple, his direction suggests the makings of a modest craftsman.
  6. Lucky Bastard
    The performances, especially from the bed partners, are complex; even if you weren’t wanting for an exposé of adult-entertainment violence, here it is.
    • 40 Metascore
    • 60 Critic Score
    Tim and Eric's Billion Dollar Movie
    Fans will love the funny and subversive moments; anyone who didn't "get" them premakeover may simply feel like they've been sitting in a "brown bath" for 93 minutes. Don't ask.
  8. Enemy
    All the way back to "Donnie Darko," Jake Gyllenhaal has had an inchoate sense of evolution about him, a tricky quality that better actors can’t pull off half as well. So it’s hard to say if splitting the star into two doppelgängers — Adam, a mousy college professor, and Anthony, a rising actor with a healthy ego — is the best dramatic plan.
  9. Whiz Kids
    So even though the science fair was something your other classmates did while you mastered Pitfall!, the sights in Whiz Kids will no doubt stir you.
  10. Eat That Question: Frank Zappa in His Own Words
    His rock music gets a decent airing, but you wish more of the man’s perversity came through: his intimidating ego, the way he could exhaust his bandmates. And seriously, where is “Valley Girl” and his amazing kids? Not bitchin’ at all.
  11. Genius Within: The Inner Life of Glenn Gould
    Gould is as much of a mystery at the end as at the beginning. You get the feeling that's the way he'd have wanted it.
  12. August: Osage County
    What ran more than three hours onstage now barely cracks two, and the cutting can be felt in the way the often gut-busting bad behavior is privileged over psychological credibility.
  13. Bad Words
    Bad Words soars in the bits of riotously offensive chitchat between Guy and a young Indian hopeful (Rohan Chand); it wobbles in plot developments involving the effortlessly starchy Allison Janney as the contest’s “queen bee”; and it splats in the I’m-secretly-hurting conclusion.
  14. The Woodmans
    If The Woodmans has something profound to say-and it does, unwittingly-it's that art can't raise a child solo.
  15. Big Star: Nothing Can Hurt Me
    Whether this love letter is more preaching to the converted than a corrective is arguable.
  16. Colombiana
    The jittery aesthetic is a bit grating - there's a three-cut minimum per roundhouse kick - but the spectacularly named Olivier Megaton (Transporter 3) still manages to deliver the action-film goods.
    • 76 Metascore
    • 60 Critic Score
    Wasteman
    Even if it doesn’t fully probe the socio-political realities of the prison experience, Wasteman succeeds as an emotional survival tale. Here’s a film that proves that sometimes, the most terrifying part of prison can just be who you’re locked up with.
  18. Cupcakes
    If Pedro Almodóvar was hired to direct another "Sex and the City" film, it might end up like Cupcakes. The sort of movie that adjectives like frothy and bubbly were invented for.
  19. Dancing Across Borders
    An illuminating profile but a sloppy snapshot of the immigrant experience.
  20. Warlords
    The film lurches through narrative incidents: Battle scenes, political intrigue and a ticking-time-bomb love triangle are all pitched at the level of mundane competence and rarely get the blood racing.
    • 59 Metascore
    • 60 Critic Score
    What's Love Got to Do with It?
    The non-judgmental message – that there are endless routes to finding love and that no one owns the map – may not be revolutionary, but Jemima Khan’s modern, personal spin on the concept gives it a likeable new freshness.
    • 73 Metascore
    • 60 Critic Score
    Charlotte's Web
    Innocuous animated fare (with songs) from Hanna-Barbera, based on EB White's fantasy.
  23. Sequestro: A Story of Kidnapping
    There are riveting moments, especially in tastefully shot interviews with former captives, who quietly describe their physical and psychological torture.
  24. Kong: Skull Island
    For all its updated bluster, this update still can’t escape the shadow of 1933’s magical King Kong.
    • 45 Metascore
    • 60 Critic Score
    Little Darlings
    If you can get over the moralising, there's a treat from Kristy McNichol as the rough talking, Marlboro-smoking kid who can deliver a kick to the cobblers to rival Paul Newman, while Matt Dillon as her 'gentle giant' initiator and the soundtrack (Blondie, Bonnie Raitt) also provide welcome relief.
    • 57 Metascore
    • 60 Critic Score
    Powaqqatsi
    Like its predecessor Koyaanisqatsi, Reggio's wordless eco-doc is visually stunning, but undermined by a fairly serious flaw.
  27. Barbershop: The Next Cut
    It all feels a touch schematic, trying to satisfy every audience type, when each haircut is different. Barbershop: The Next Cut actually ends up in the chair, with a highly symbolic snipping that could have come straight outta the 1950s.
  28. The Yes Men Fix the World
    God bless their antics, but the Yes Men’s jestful jousting feels more like tilting at windmills
  29. On My Way
    Family members fight and reconcile over delicious-looking regional cuisine, new romantic possibilities present themselves, and Deneuve swans through all the heartstring-plucking silliness like the ethereal superstar she is. There are worse things in life.
    • 67 Metascore
    • 60 Critic Score
    Dracula
    Langella offers the best interpretation of Stoker's villain since Christopher Lee, and Badham's film, shot in England, gives him a classy environment to devastate. But the decision to create such a sympathetic vampire (especially alongside Olivier's hammy Van Helsing) leaves the film short of suspense, and so romance has to take most of the weight. As a result, it begins to drift badly at the climax.
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