Time Out's Scores

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For 6,392 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: 2,485 out of 6392
  2. Mixed: 3,432 out of 6392
  3. Negative: 475 out of 6392
6392 movie reviews
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    • 38 Metascore
    • 40 Critic Score
    One Fall
    Writer, director and star Fuller posits a dichotomy between belief and scientific rationality, only to gull us into accepting the former.
  2. Free Birds
    To call this a turkey would be an insult to poultry.
    • 38 Metascore
    • 40 Critic Score
    Girl Most Likely
    The keenest irony is that Imogene’s fake suicide note is the most convincing thing she’s ever written — which makes perverse sense since Girl Most Likely is DOA.
  4. The Moth Diaries
    They've taken an intriguing story about female neuroses with gothic overtones and turned it into a graceless, butt-ugly attempt at Twilight-lite.
    • 38 Metascore
    • 40 Critic Score
    Turnabout
    Adapted from Thorne Smith's fantasy about sexual role reversal, this probably seemed daring once, but hasn't worn well.
  6. I Don't Know How She Does It
    Only Kinnear manages to give his role some shades beyond the broadly farcical, though even he ultimately succumbs to his leading lady's toothy grin and Oprah-sanctioned bromides.
    • 38 Metascore
    • 40 Critic Score
    Navy Seals
    Teague, meanwhile, is far too busy orchestrating the large-scale action sequences to make anything of the cardboard characters, episodic plotting, or clunking dialogue.
    • 38 Metascore
    • 20 Critic Score
    Brake
    Primarily a TV director, Torres lacks the chops to delineate Dorff's claustrophobic quarters, and the actor spends most of the movie confusing tough-guy stoicism with simple inertness, despite the occasional Jack Bauer–style yell.
  9. Third Person
    It’s crushing, then, that the movie’s big reveal is the kind of narrative do-over that could only spring from the mind of an almighty writer in love with playing God — or with himself.
  10. Men, Women & Children
    The first Reitman film to make the 36-year-old director seem about 400 years old.
    • 38 Metascore
    • 20 Critic Score
    The Beyond
    A shamelessly artless horror movie whose senseless story - a girl inherits a spooky, seedy hotel which just happens to have one of the Seven Doors of Hell in its cellar - is merely an excuse for a poorly connected series of sadistic tableaux of torture and gore.
    • 38 Metascore
    • 50 Critic Score
    Spaced Invaders
    Despite the neat comic inversion of its central premise (this time it's the spacemen who are taken in by Welles' classic hoax), the film soon comes a cropper as the chaotic script descends into a mêlée of limp and disjointed knockabout gags.
  13. 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.
    • 38 Metascore
    • 40 Critic Score
    Midnight Sun
    Leads Thorne and Schwarzenegger are mildly charming in a TV-soap way, but it’s all so desperately clean and savoury (even her XP is photogenic – unlike in reality).
  15. Jurassic World Dominion
    It’s to the 1993 original what The Kingdom of the Crystal Skull was to Raiders.
    • 38 Metascore
    • 40 Critic Score
    The Trouble with Bliss
    Hall's puppy-dog charisma holds up under the strain, but it isn't nearly enough to keep this messy midlife-crisis dramedy afloat. A little of this Bliss goes a long way.
    • 38 Metascore
    • 20 Critic Score
    I Am
    All of this touching and feeling makes I Am a so-awful-it's-mesmerizing mash-up of Hollywood entitlement and earnest goodwill. There's no questioning Shadyac's googly-eyed sincerity, but the film has all the depth of a late-night dorm-room exchange.
  18. Adore
    You can barely stifle a laugh, and the way Wright and Watts deliver rote, morally searching dialogue with deer-in-the-headlights stoicism (“We’ve crossed a line,” Lil blankly notes) doesn’t help matters.
    • 37 Metascore
    • 40 Critic Score
    The Words
    The connections among the film's various plot strands are painfully obvious; by the time a grizzled Jeremy Irons saunters in, ready to dole out a comeuppance, perceptive viewers will have mentally flipped to the last page.
    • 37 Metascore
    • 40 Critic Score
    Krush Groove
    But this is a Grade A stop-me-if-you've-heard-this-one-before plot.
  21. Amelia
    There’s nothing more boring than a life embalmed with halfhearted Hollywood bombast, which only makes the film’s fleeting pleasures stand out all the more.
  22. Paper Man
    Fine performers can’t salvage a toxically precious script, though Stone (Zombieland), with her disarming poise, makes a go of it.
    • 37 Metascore
    • 50 Critic Score
    Striptease
    The kind of comedy thriller which cancels itself out, this is pitched too close to caricature to engender suspense, but lacks the crisp, acerbic wit which distinguishes Hiaasen's prose.
  24. Hotel Noir
    You never lose the nagging sense that you're simply watching a high-school drama club's production of '40s fatalism chic.
  25. Trespass
    Trespass is assembly-line product through and through - unabashedly mediocre and instantly forgettable. A Joel Schumacher joint, in other words.
    • 37 Metascore
    • 40 Critic Score
    The Black Tulip
    The Black Tulip is noteworthy for its existence alone - and not, unfortunately, for much else.
    • 37 Metascore
    • 40 Critic Score
    Winnie Mandela
    This twist doesn’t so much probe the situation’s ambiguities as reflect the filmmaker’s uncertainty about how to properly portray a major historical figure in all her troubling complexity.
  28. Autómata
    The early scenes of Gabe Ibáñez’s impressively mounted but uneven thriller do some terrific dystopian world-building.
  29. Baywatch
    The actors are what save it. Not only does Johnson build on his subversive 
persona of hulking, dim-witted likability, 
but he’s joined by Neighbors’ Zac Efron, today’s reigning king of the hazy one-liner.
    • 37 Metascore
    • 40 Critic Score
    Frankenstein and the Monster from Hell
    Things begin well, with Fisher adding some atmospheric touches and Cushing suggesting a man undermined by his excessive rationality. Unfortunately the script, which treads a wavering line between jerky comedy and seriousness, soon dissipates anyone else's better intentions.
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