Time Out's Scores

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For 6,419 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,500 out of 6419
  2. Mixed: 3,444 out of 6419
  3. Negative: 475 out of 6419
6419 movie reviews
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  1. The Two Escobars
    Even the admittedly thrilling gameplay footage and time-capsule news reports are couched in contexts that seem crudely sketched out.
  2. Jackass 3-D
    The 3-D effects, so promising on paper, don't really add much-and, worse, there's a overreliance on slow-motion, which kills the fun.
  3. Inside Job
    Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp.
  4. It's Kind of a Funny Story
    Material like this doesn't require the additional strain of overnarrated freeze-frames, a "Cuckoo's Nest" supporting cast of adorable crazies and a Glee-ified musical number set to Queen and David Bowie's "Under Pressure."
  5. Secretariat
    Lane, experiencing her career heyday, is sweet enough to have you rooting for her, even if her journey to the winner's circle is an odds-on favorite.
  6. I Spit on Your Grave
    Harsh-voiced Sarah Butler lends zero personality to her avenging antiheroine, and the retributive torture sequences approach "Saw" levels of unlikelihood.
  7. Nowhere Boy
    If only the script had been content to stick with its let's-start-a-band verve. Like many a musical biopic, Nowhere Boy wants to explain away the man (as if a song like "In My Life" weren't explanation enough).
    • 39 Metascore
    • 40 Critic Score
    Life as We Know It
    Brittle, workaholic and bitterly single does not a Kate Hepburn make, and in this latest screen iteration of The Taming of the Heigl, she doesn't stray far enough from her standard rom-com shtick.
  9. Marwencol
    When it comes to capturing the man behind the phenomenon, however, the film never progresses beyond a superficial, weird-yet-wonderful portraiture.
  10. Rachel
    While the director doesn't hide her sympathies, she leaves remarkably few stones unturned in a dogged search for answers.
  11. Letters to Father Jaakob
    There's only one thing worse than a leaden moral fable that tackles issues of forgiveness with sledgehammer contrivances, and that's one that attempts to mask its manipulative corniness with an air of trumped-up gravity.
  12. As Good as Dead
    It's hardly worth slogging through a full hour of unexplained bondage and a so-bombastic-it-seems-sarcastic score, only to be rewarded with a plea for tolerance that's both insincere and inept.
  13. My Soul to Take
    There are plenty of formulaic boo! moments, yet Craven intelligently treats Bug's otherworldly issues like hormonal growing pains that must be tamed.
  14. The Social Network
    It's a grandly entertaining reminder of everything we used to go to the movies for (and still can't get online): sparkling dialogue, thorny situations, soulful performances, and an unusually open-ended and relevant engagement with a major social issue of the day: how we (dis)connect.
  15. Freakonomics
    Despite a roster of off-kilter documentarians each directing an episode, Freakonomics only partly delivers the sense of traipsing into uncharted territory.
  16. Let Me In
    The new Let Me In does more than merely preserve the original's mood; it actually improves on it.
  17. Douchebag
    The film never entirely overcomes the sense that it's a calling-card vehicle.
  18. Leaving
    Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
  19. Ip Man
    Everything from the direction of actors to the dialogue signifies the work of a filmmaker who favors easy audience-baiting reactions over dramatic momentum. Doesn't the man who would later teach Bruce Lee how to kee-yah deserve better than a chopsocky Punch-and-Judy show?
    • 30 Metascore
    • 40 Critic Score
    Speed-Dating
    Who knew entering a belated adulthood could be so easy-and so utterly joyless?
  21. Hatchet II
    It's a functional sequel, but with all that spirited slicing and dicing, the director could have at least broken a sweat.
  22. Hot Summer Days (Chuen sing yit luen - yit lat lat)
    It's less a film than one long advertisement for itself-and for the fact that mindless entertainment truly knows no borders.
  23. Case 39
    From a bevy of cheesy jolt scares (alarm clock! barking dog!) to the embarrassing sight of Zellweger and Ian McShane treating this Orphan-style B-movie silliness with grave seriousness, the film proves to be one hokey-horror riot.
  24. Wall Street: Money Never Sleeps
    A completely unnecessary sequel, plays a lot like "The Godfather, Part III"-lush, self-parodic and cut adrift from urgency.
  25. Buried
    The movie's real asset is Reynolds himself, utilizing his comedy chops for unexpected levity.
  26. Enter the Void
    A strong contender for both the artiest drug movie and the druggiest art movie ever made, Gaspar Noé's tour de force of forced perspectives and free-form grief is, in every sense of the word, a trip.
  27. Howl
    Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
  28. Legend of the Guardians: The Owls of Ga'Hoole
    Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
  29. Waiting for 'Superman'
    The plentiful pop-doc touches ensure that this wake-up call won't put you to sleep, even if the ratio of spoonfuls of sugar to medicine occasionally seems skewed.
    • tbd Metascore
    • 60 Critic Score
    Tibet in Song
    Though the movie is a testimony to one man's will to survive and a testament to a vanishing art form, Tibet in Song's greatest achievement may be the way it shows how China recast traditional songs as modern pro-Communist propaganda-an eradication of an invaded country's culture through insidious co-option.
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