Time Out's Scores

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For 6,377 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: 2,478 out of 6377
  2. Mixed: 3,424 out of 6377
  3. Negative: 475 out of 6377
6377 movie reviews
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  1. A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    A coda shifts to video footage of Cleese's irreverent eulogy; you wish the whole film could have been as slyly somber. It's what the colonel would have insisted upon.
  2. Brief Interviews with Hideous Men
    The question is, could someone turn these full-frontal-dudity snapshots into a satisfying, cohesive movie? Answer: no, but not for lack of trying.
  3. The Art of Getting By
    Ugh! For a movie devoted to an alleged geek-rebel underdog, this coming-of-age flick couldn't be more conformist, from its familiar faux quirk to the interchangeable emo-pop songs peppering each sugary montage.
  4. American Ultra
    Artless and unpleasant, this is the kind of late-summer swill that gives August a bad name.
  5. The Purge: Anarchy
    Mainly, though, this is a humorless film that skimps on the delicious opportunity for spousal retribution.
  6. The Help
    Spencer, a superb performer mainly known for small character parts, gives a star-making turn as the won't-take-no-guff Minny.
    • 60 Metascore
    • 40 Critic Score
    Warm Bodies
    Warm Bodies wants us to believe in the transformative power of love, but what of Julie's poor, devoured boyfriend? There's Stockholm syndrome, and then there's cozying up to the monster who ate your sweetheart.
    • 49 Metascore
    • 40 Critic Score
    Pop Star on Ice
    If you’re not already a member of the “Johnny’s Angels” fan club, you might wonder why other equally outrageous athletes weren’t bestowed with their own cinematic tributes.
    • 42 Metascore
    • 40 Critic Score
    Goodbye Charlie
    Reynolds and Curtis (in a disposable role as Charlie's permanently aghast best pal) race at full speed through reams of dud dialogue, while Minnelli amuses himself colour coordinating costumes and set decorations. Based, very noticeably, on a stage play (by George Axelrod).
  10. Wasteland
    It’s a waste, for sure — of talent and your time.
    • 40 Metascore
    • 40 Critic Score
    The Best Little Whorehouse in Texas
    The dialogue is Texas crude, the sentiment Bible Belt coy, and the songs conveyor-belt Broadway: stale air on a G-string.
    • 42 Metascore
    • 40 Critic Score
    The Lady Vanishes
    Comparisons are odious, but this remake of Hitchcock's thriller continually begs them by trampling heavily over its predecessor. The original anticipated, with some poignancy, a Europe at war. This version uses hindsight entirely to disadvantage.
  13. The Girl
    In all aspects, The Girl can’t help it — this is headline-torn cinema du tearjerking at its most generic.
    • 19 Metascore
    • 40 Critic Score
    Old Dogs
    Only the irrepressible Luis Guzmán, stuck in a walk-on bit as the stereotypical mooching Hispanic, is able to milk this cash cow and exit with his dignity intact.
  15. Prelude to a Kiss
    Very sticky.
    • 57 Metascore
    • 40 Critic Score
    Katy Perry: Part of Me
    The 3-D performance footage is impressively lavish, though the film's unending idolization of the amiable singer will quickly exhaust all but the most devoted fans.
  17. Parked
    The fact that director Darragh Byrne has laden things with a Celtic Whimsy 101 score and a sketched outline of a script makes it even tougher for Meaney to lift this film out of its social-drama rut.
  18. Tolkien
    Despite the best efforts of its committed young cast, and especially a game (if suspiciously old-looking) Nicholas Hoult as Tolkien in his late teens and early twenties, it’s a plodding and polite portrayal that holds few surprises.
  19. Handsome Harry
    Harry’s haunted by his own identity crisis, but that breakdown translates into nothing but smeary, slo-mo flashbacks. Forget about insight into the macho mind-set.
  20. Prince of Persia: The Sands of Time
    A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)
  21. Princess Kaiulani
    Kilcher makes the slog worthwhile--her face gleams with possibility, even in the character’s darkest moments--though one prays she escapes the typecasting trap ASAP.
  22. The Mechanic
    It's a pleasure to watch the granite-faced action star do his own stunts, particularly a death-defying leap from a bridge. Yet everything feels hurried.
  23. Savages
    This time, Stone is just sloshing around in the shallow end. When John Travolta and Benicio Del Toro show up for extended, cartoonish dialogues, you'll wonder what year it is, and let out a sigh of relief that the moment is long gone.
    • 63 Metascore
    • 40 Critic Score
    Until the End of the World
    Despite a few felicitous moments, the film is turgid, pretentious, and dramatically lifeless.
    • 48 Metascore
    • 40 Critic Score
    Morning
    As an exercise in grief, Orser’s drama is affecting, exhausting and something of a shortcut.
  26. Bad Santa 2
    Mainly it lacks director Terry Zwigoff who, as he did with "Ghost World" and "Crumb," suggested a vital, original voice.
  27. Black Adam
    Few of the laughs land, either.
    • 46 Metascore
    • 40 Critic Score
    Jetsons: The Movie
    Top-notch computer graphics, star voices and a gaggle of gadgets cannot disguise the fact that this family of the future is stuck firmly in 1962.
  29. Kidnapped
    Some kind of napping for sure: The line between rigor and tedium is crossed in this Madrid-set home-invasion thriller, captured in a dozen or so claustrophobic shots but impoverished as a piece of drama.
    • 69 Metascore
    • 40 Critic Score
    Out in the Dark
    About 45 minutes in, the film’s uneasy détente between subtlety and movie machinery fails outright, as heretofore shown-not-told themes are spelled out — “You forget where you live!” yell family members on both sides — and the paramours try to outrun violence and structural contrivance.
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