Time Out's Scores

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For 6,373 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: 61
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,476 out of 6373
  2. Mixed: 3,422 out of 6373
  3. Negative: 475 out of 6373
6373 movie reviews
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  1. Amer
    Amer could exist only as a movie, not as a novel or a pop song. If you give it a whirl, you won't simply get drunk on its immediacy; you may throw out plot and character altogether.
  2. Cold War
    The Polish filmmaker has conjured a dazzling, painful, universal odyssey through the human heart and all its strange compulsions. It could be the most achingly romantic film you’ll see this year, or just a really painful reminder of the one that got away.
  3. Uncut Gems
    It’s made with so much love, care and enthusiasm—plus no small amount of risk—you thrill to think that they’re just getting started.
  4. A Serious Man
    See this film immediately.
    • 81 Metascore
    • 90 Critic Score
    Destry Rides Again
    Flawless performances, pacy direction and a snappy script place it head and shoulders above virtually any other spoof oater.
    • 65 Metascore
    • 90 Critic Score
    The Curse of Frankenstein
    The director's combination of the morbid and sinister is masterful, and at the same time he was able to create an atmosphere of great beauty.
    • 83 Metascore
    • 90 Critic Score
    Wild Reeds
    The film impresses for its authenticity, careful delineation of mood, and subtle balancing of the personal and political. Téchiné wins sterling support from his young cast, who give the kind of quiet, naturalistic performances the French are so good at. A delicacy to savour.
    • 91 Metascore
    • 90 Critic Score
    Bambi
    From Disney's richest period, interleaving splendid animation with vulgar Americana.
    • 78 Metascore
    • 90 Critic Score
    James and the Giant Peach
    Despite a lightness of plot, it most beautifully captures the book's free-floating, fantastic sense of adventure and wonder.
    • 61 Metascore
    • 90 Critic Score
    Hammett
    Wenders' first American movie is no conventional biopic, but a stunningly achieved fiction about the art and mystique of creating fiction.
    • 79 Metascore
    • 90 Critic Score
    Poltergeist
    Although the sub-religious gobbledegook (including a tiresome midget medium) is hard to take, it is consistently redeemed by its creator's dazzling sense of craft.
    • 67 Metascore
    • 90 Critic Score
    The Cincinnati Kid
    A vivid character study in the tradition of the not dissimilar The Hustler. Marvellous performances throughout ensure interest.
    • 68 Metascore
    • 90 Critic Score
    Breezy
    It's performed beautifully, laced with a quietly ironic wit, and quite lovely to look at.
    • 84 Metascore
    • 90 Critic Score
    Cat on a Hot Tin Roof
    As so often with adaptations of Williams, it frequently errs on the side of overstatement and pretension, but still remains immensely enjoyable as a piece of cod-Freudian codswallop.
    • 77 Metascore
    • 90 Critic Score
    The Road Warrior
    Miller's choreography of his innumerable vehicles is so extraordinary that it makes Spielberg's Raiders of the Lost Ark look like a kid fooling with Dinky Toys.
    • 79 Metascore
    • 90 Critic Score
    The American Friend
    Superb adaptation of Patricia Highsmith's novel Ripley's Game, with Hopper as her amiably cynical hero.
    • 54 Metascore
    • 90 Critic Score
    So I Married an Axe Murderer
    The crass Scots jokes are irresistible; Alan Arkin's cameo as a mild-mannered police chief is sheer perfection; and the cultish references to Beat poetry should please slumming hipsters. Like an exploding haggis, funny but extremely messy.
    • 76 Metascore
    • 90 Critic Score
    The Killing Fields
    The first hour, sprawling, chaotic and violently messy, is very good indeed, conveying both the complexity and the essential absurdity of war, while the photography by Chris Menges is stunningly convincing in detailing the scale of the carnage.
    • 86 Metascore
    • 90 Critic Score
    The Thin Man
    What enchants, really, is the relationship between Nick and Nora as they live an eternal cocktail hour, bewailing hangovers that only another little drink will cure, in a marvellous blend of marital familiarity and constant courtship, pixillated fantasy and childlike wonder.
    • 67 Metascore
    • 90 Critic Score
    Running on Empty
    Both acting (particularly Phoenix) and characterisation are top-notch. A film about lives indelibly marked by the past, and by the lies we tell each other just to protect ourselves, it displays the narrative sophistication and ironic grasp of moral and emotional nuances characteristic of Lumet's best work.
    • 89 Metascore
    • 90 Critic Score
    The Hidden Fortress
    The movie that confirmed Kurosawa's greatest strength, his innovative handling of genre.
  22. Au hasard Balthazar
    Imbued with a dry, ironic sense of humour, the film is perhaps the director's most perfectly realised, and certainly his most moving.
    • 100 Metascore
    • 90 Critic Score
    Rear Window
    Quite aside from the violation of intimacy, which is shocking enough, Hitchcock has nowhere else come so close to pure misanthropy, nor given us so disturbing a definition of what it is to watch the 'silent film' of other people's lives, whether across a courtyard or up on a screen.
    • 53 Metascore
    • 90 Critic Score
    2010
    Hyams has not come up with a climax to match Kubrick's rush through the star-gate; but this is still space fiction of a superior kind, making the Star Trek movies look puny by comparison.
    • 68 Metascore
    • 90 Critic Score
    Dick Tracy
    A spectacular movie whose technical achievements - notably the sharp editing - will surely provide a gauge by which subsequent comic strip films are judged.
    • 80 Metascore
    • 90 Critic Score
    Bugsy
    With a sparklingly witty script (James Toback), classy direction and terrific performances all round, Beatty's return to the fray is his best movie since McCabe and Mrs Miller.
    • 89 Metascore
    • 90 Critic Score
    A Star Is Born
    The acting honours belong to Mason: whether idly cruising the LA dance-halls for a new woman, sliding into alcoholism, or embarrassing everyone at an Oscar ceremony, he gives a performance which is as good as any actor is ever allowed.
    • 78 Metascore
    • 90 Critic Score
    All That Heaven Allows
    On the surface a glossy tearjerker about the problems besetting a love affair between an attractive middle class widow and her younger, 'bohemian' gardener, Sirk's film is in fact a scathing attack on all those facets of the American Dream widely held dear.
    • 79 Metascore
    • 90 Critic Score
    Suspiria
    With his sharp eye for the bizarre and for vulgar over-decoration, it's always fascinating to watch; the thrills and spills are so classy and fast that the movie becomes in effect what horror movies seemed like when you were too young to get in to see them. Don't think, just panic.
    • 75 Metascore
    • 90 Critic Score
    The Crucible
    The ironies of the piece, adapted by Arthur Miller from his own 1953 play on the perils of McCarthyism, are savage and well served by a top-notch cast perfectly attuned to the poetry of the dialogue and the parable's fiery passions. Hytner holds the action together with solid, unflashy, well-paced direction, ensuring that this is no mere period piece but a compelling, pertinent account of human fear, frailty and cold ambition.
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