Time Out's Scores

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For 6,379 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: 2,479 out of 6379
  2. Mixed: 3,425 out of 6379
  3. Negative: 475 out of 6379
6379 movie reviews
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  1. Happy Feet Two
    The trek to get there is sluggish at best, torturous at worst. March away, penguins. Far away.
  2. True History of the Kelly Gang
    It’s all heading somewhere special as Kelly muses on masculinity and colonialism, but then coherence gives way to flashy visuals and bursts of expressionistic violence.
    • 43 Metascore
    • 40 Critic Score
    Monte Carlo
    The movie isn't without its charms, with several supporting characters - a hotel-desk clerk, a French police chief - adding a touch of "Pink Panther"–esque humor to the mix.
    • 34 Metascore
    • 40 Critic Score
    The Clan of the Cave Bear
    Devotees of John Sayles' witty, literate screenplays will be disappointed by the repartee of subtitled grunts, while beneath the film's apparent plea for tolerance lies the offensive (if quite possibly true) assumption that tall, tanned Californian blondes represent the highest form of human life.
    • 51 Metascore
    • 40 Critic Score
    A Marine Story
    The film stumbles through rounds of ham-fisted melodrama.
    • 53 Metascore
    • 40 Critic Score
    Don't Stop Believin': Everyman's Journey
    Unfortunately for this rock documentary, this fan-to-frontman saga is not that interesting a turn.
  7. Trance
    The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.
  8. Ceremony
    Ceremony passes by quickly and painlessly, its annoyances easily forgotten. On the plus side, Thurman and Angarano do work up a sweet odd-pair chemistry.
  9. La Maison de la Radio
    Given only hints of personalities and the thinnest strands of stories, we’re left with a hum of tinny snippets instead of anything that resembles the glorious noise of people putting on show after show after show.
    • 59 Metascore
    • 40 Critic Score
    Summer of '42
    Zeroing in (with much of Mulligan's usual quiet sympathy) on adolescence and the moment of sexual awakening with the added weight of The Way We Were type of nostalgia, this is a mess of contradictions.
  11. Somebody Up There Likes Me
    The time-killing universe Byington has created makes sure we never forget how absurd he thinks the whole movie is. Fun for him, perhaps.
  12. Henry's Crime
    The disparity only makes Reeves's earnest-but-monotonous turn that much more pronounced-and the film that much more dismissible.
    • 49 Metascore
    • 40 Critic Score
    Everybody Has a Plan
    The artist formerly known as Aragorn remains an engrossing screen presence, but this campy thriller is a tad too close to simply having him sing the telephone directory.
  14. The Croods
    Aside from a few witty Looney Tunes–esque sight gags, such as one hilarious image of a woolly mammoth being swallowed up by the tectonically shifting earth, the stereoscopic visuals are a busy, personality-free digital blur.
  15. Simon Killer
    Even at its most affecting, Simon Killer rarely seems like more than a cinema-du-Gaspar-Noé simulacrum. The languorous long-takes, dissociative sound design and strobe-light scene transitions meant to mirror this emotional con artist’s skewed view of the world are anxiety-of-influence hand-me-downs through and through—viscera without vision.
    • 44 Metascore
    • 40 Critic Score
    Three Men and a Cradle
    In this comedy, three Parisian swingers find their bachelor pad invaded by the fruit of a night of forgotten passion. Noisy, and not short of unison waddling walks.
    • 68 Metascore
    • 40 Critic Score
    Avalon
    It's a shamelessly sentimental interpretation of history, with television ushering in a generation which has lost the art of communication and the ability to care. Against this blinkered vision, even Levinson's confident direction and ability to capture the absurdities and rhythms of everyday speech fail to provide sufficient compensation.
  18. A Royal Affair
    Intrigue and eroticism abound, all of it watchable, none of it particularly exciting. And the misty widescreen photography lends the proceedings a funereal air of respectability that's like catnip to Oscar voters.
    • 67 Metascore
    • 40 Critic Score
    The Sapphires
    The Sapphires might pass muster as escapist fluff, but its pretensions of significance go woefully awry.
    • 56 Metascore
    • 40 Critic Score
    Ghosts of Mississippi
    No amount of emotional ballast in the film can make up for the tedium and repetition inevitable when a murder is shown and then dissected in two separate court hearings.
  21. Breaking Point
    Dramatically handcuffed and smothered in overbearing mood music, this lightweight New York crime thriller is desperate to look and feel gritty; the cast, meanwhile, deliver vein-popping diatribes between clenched teeth and weep openly in a desperate ploy to earn gravitas.
  22. Ponies
    An adaptation of Mike Batistick's Off Broadway play, this stagy character study about immigrants living off the crumbs of the American Dream revels in cut-rate street smartness. Then comes the third act, at which point the film moves from obvious message-mongering to the beating of a post–9/11 dead horse.
  23. Faster
    The Rock deserves better than this ho-hum revenge picture.
    • 38 Metascore
    • 40 Critic Score
    Meeting Spencer
    The film feels more stale than timeless. Ditto the movie's rapid-fire dialogue, a stream of self-conscious patter that largely misses its targets and repeatedly takes the zing out of Tambor's zesty line readings.
    • 62 Metascore
    • 40 Critic Score
    Skin
    The story is too rich in incident for Fabian, whose episodic TV-movie approach speeds through Laing’s lifetime of abuse.
  26. Police, Adjective
    Shockingly dull.
    • 74 Metascore
    • 40 Critic Score
    Prodigal Sons
    Instead of pushing deeper into any psychological dilemmas, this dirty-laundry doc gets lost in a sensationalistic flurry driven by a serious emotional unraveling.
  28. Touching Home
    Although convincing as athletes, neither Miller belongs on a movie screen; personal parable or not, this feels like a too-familiar trip around the bases.
  29. Ben-Hur
    Taking the worst of it on the chin is star Jack Huston, whose Jewish prince turned galley slave, Judah Ben-Hur, suffers from a distinct lack of personality—he’s like a boulder that someone forgot to chisel into a statue.
  30. Sunburn
    Lumpy-but-loveable Charles Grodin is the insurance investigator, sniffing out a swindle among Acapulco's lotus-eaters; Fawcett-Majors (comely but coy) is posing as his wife, while emphasising that a quick bunk-up is out of the question. Together they're in a routine comedy-thriller, which looks good but is neither funny nor thrilling, and carelessly wastes its supporting cast, with Art Carney reduced to caricature and Joan Collins on automatic pilot in a hilarious replay of her rich-bitch nympho persona.
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