Time Out's Scores

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For 6,371 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: 2,474 out of 6371
  2. Mixed: 3,422 out of 6371
  3. Negative: 475 out of 6371
6371 movie reviews
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    • 58 Metascore
    • 60 Critic Score
    Thunderheart
    This directness, however, contrasts with an over-complicated script by John Fusco, who sets the action in the aftermath of the 1975 battle at Wounded Knee and the controversial arrest of American Indian Movement leader Leonard Peltier, accused of killing two FBI agents. But while appreciation may be enhanced by previous knowledge of these events, the story boasts integrity and serves as a forceful indictment of on-going injustice.
    • 65 Metascore
    • 100 Critic Score
    White Men Can't Jump
    Snipes and Harrelson bounce off the screen like Michael Jordan, while Shelton and cinematographer Russell Boyd perfectly capture the agile thrills of the game itself. A double-whammy slam-dunker of a movie.
    • 40 Metascore
    • 60 Critic Score
    The Power of One
    Avildsen draws good performances from the three actors who play PK, as well as from the ever-reliable Freeman and Müller-Stahl, but subtlety is abandoned when he focuses on the ring and teen romance. The climax is a slugging match between PK and a former school bully which would make Rocky proud.
    • 53 Metascore
    • 40 Critic Score
    The Cutting Edge
    A lobotomised ice-skating obsessive (since many of the skating sequences are choreographed by former Olympic gold medallist Robin Cousins) might find something praiseworthy in all this predictable, ham-fisted, romantic tosh.
    • 65 Metascore
    • 50 Critic Score
    Noises Off...
    Another theatrical metaphor fails to transfer to the screen. This adaptation of Michael Frayn's stage hit undoubtedly has its moments, but will still disappoint those who laughed themselves silly at the original.
    • 49 Metascore
    • 60 Critic Score
    Gladiator
    It's this desperation, and the racial undercurrent of black versus white, that Horn is keen to exploit. Marshall makes a promising feature debut; and Herrington, pushing beyond the expected triumph-of-the-underdog clichés, underpins the crowd-pleasing Rocky-style fight action with some unobtrusive social comment and confident visual storytelling.
    • 43 Metascore
    • 50 Critic Score
    Medicine Man
    A maestro of the action movie, McTiernan effectively captures the horrors of a climactic jungle fire, but at other times, the setting merely provides an exotic backdrop to bolshie posturing and feats of derring-do.
    • 40 Metascore
    • 40 Critic Score
    Final Analysis
    An overlong, hardly believable psychological thriller.
    • 78 Metascore
    • 60 Critic Score
    Mississippi Masala
    An interesting if poorly constructed and self-contradicting drama, directed with something less than assurance, but given some appeal by the honesty of its performances.
    • 66 Metascore
    • 50 Critic Score
    Rush
    Despite a gritty screenplay by Pete Dexter from Kim Wozencraft's factual book, Zanuck's debut feature fails to keep its dramatic sightlines clear.
    • 34 Metascore
    • 30 Critic Score
    Freejack
    Whenever things get boring, which is often, the double-crossing factor is increased, which complicates the plot without adding substance to the two-dimensional characters or to the mechanical suspense.
    • 64 Metascore
    • 70 Critic Score
    The Hand That Rocks the Cradle
    Screenwriter Amanda Silver gleefully exploits parental fears, and skilfully depicts the shifting loyalties, malevolence and escalating paranoia within Claire's household. But as the film progresses, malicious schemes and loony excesses are combined, with Hanson's self-conscious direction rendering one particularly sensational murder even more implausible.
    • 70 Metascore
    • 60 Critic Score
    Light Sleeper
    Schrader certainly has his finger on the pulse of the times, and the universally strong performances do ample justice to his sensitive ear for dialogue. But the story meanders, and it echoes Taxi Driver and American Gigolo so closely that Schrader is working less than fresh variations on over-familiar themes. For all the film's conspicuously adult intelligence, it elicits a disappointing sense of déjà vu.
    • 83 Metascore
    • 90 Critic Score
    Porco Rosso
    As usual with Miyazaki, the plot fits, starts and digresses at will, taking in the textures of pre-fascist Italy, details on the history of aviation and a lucid discussion on gender equality and physical beauty. Oh, and the kids will love it too.
    • 63 Metascore
    • 40 Critic Score
    Until the End of the World
    Despite a few felicitous moments, the film is turgid, pretentious, and dramatically lifeless.
    • 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.
    • 52 Metascore
    • 50 Critic Score
    The Last Boy Scout
    Despite the testosterone-charged violence and jaw-dropping sexism, the tone is one of self-conscious excess - a strategy which constantly undercuts the film's celebration of male bonding conventions.
    • 31 Metascore
    • 20 Critic Score
    Highlander II: The Quickening
    Leaden, laden with effects, short on imagination.
    • 57 Metascore
    • 40 Critic Score
    The People Under the Stairs
    Craven aims for an archetypal confrontation between childlike innocence and wicked step- parent cruelty, but the results are more grim than Grimm.
    • 84 Metascore
    • 80 Critic Score
    Homicide
    The twist at the end is devastating, forcing you to view the film as a character study rather than a thriller, which places it in the Detective Story and The Offence bag...Gripping, though.
    • 49 Metascore
    • 60 Critic Score
    Ricochet
    If you don't take it seriously, it's a lot of fun.
    • 56 Metascore
    • 60 Critic Score
    Dogfight
    Savoca skilfully negotiates the nastiness of the opening scenes: four Marines organise a party, the object of which is to see who can bring along the most unattractive date. She is almost as successful with the potentially maudlin central section, after Phoenix has picked up Taylor, and remorse segues into affection and tenderness.
    • 73 Metascore
    • 60 Critic Score
    The Man in the Moon
    For this rites-of-passage drama, screenwriter Jenny Wingfield draws on personal recollections; but while she brings intelligence to the depiction of teen angst, her attempt to follow formula means that the heart-warming tone steadily becomes overheated.
    • 45 Metascore
    • 20 Critic Score
    Necessary Roughness
    This tale of a 34-year-old quarterback's return to college football is marginally less funny than wearing a jock-strap on your head, and less original than putting Ralgex down your opponent's shorts.
    • 78 Metascore
    • 90 Critic Score
    A Better Tomorrow
    Floridly romantic and serenely excessive (men shot a dozen times don't die, guns never need reloading), it has the bravado of a minor classic.
    • 56 Metascore
    • 40 Critic Score
    The Indian Runner
    Potentially potent and not without naive charm, but ultimately a masturbatory ejaculation of all too personal juices.
    • 39 Metascore
    • 30 Critic Score
    Freddy's Dead: The Final Nightmare
    Terminally boring.
    • 73 Metascore
    • 80 Critic Score
    The Commitments
    A gritty, naturalistic comedy blessed with a wry, affectionate eye for the absurdities of the band's various rivalries and ambitions; and the songs are matchless.
    • 36 Metascore
    • 20 Critic Score
    Harley Davidson and the Marlboro Man
    Utter rubbish, and badly dressed at that.
    • 36 Metascore
    • 40 Critic Score
    Pure Luck
    A misfire.
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