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. Homefront
    Why introduce two female characters — played by Kate Bosworth and Winona Ryder, both excelling at trashy desperation — if the script’s ultimately going to forget them? The worst sin is visited upon Statham: Sure, those fists fly, but his poetry has become a chopped-up hash.
    • 46 Metascore
    • 40 Critic Score
    Remo Williams: The Adventure Begins
    Dodgy business magnate Cioffi is up to no good in the armaments world, but even he can't ship an extra consignment of charisma to a picture that suffers from able character performer Ward's lack of leading-man presence or physique.
  3. Son of Dracula
    The script is far from wonderful, and offers Siodmak little to get his teeth into, notwithstanding a beautifully atmospheric first entry for the Count (Chaney and coffin rising from the misty depths of a lake) and an effective finale.
  4. Frozen
    The story — aside from a climax that plays like a too-knowing rebuke to Disney formula — goes tediously through the motions. It isn’t only Papa Walt’s head that’s been put on ice.
  5. Casino Jack and the United States of Money
    The big absence here is the man himself; Gibney couldn’t get the jailed Abramoff on camera, either due to unwillingness or a Justice Department intervention. Whatever the reason, it’s crippling.
    • 66 Metascore
    • 40 Critic Score
    Fast Five
    The Fast and the Furious movies haven't exactly gotten better as they've gone along.
    • tbd Metascore
    • 40 Critic Score
    The Satanic Rites of Dracula
    A lot of weak action scenes and weaker lines, but still a vast improvement on Dracula A.D. 1972.
    • 61 Metascore
    • 40 Critic Score
    Prince of Broadway
    There's one crucial lesson that Baker hasn't absorbed, however: Don't get too caught up in plotting, especially when it involves a man warming to an unwanted child.
  9. Green Zone
    Not since a Nam-scarred Sly Stallone asked, "Do we get to win this time?" in "Rambo: First Blood Part II" has an American action star been deployed to rewrite history so thoroughly.
    • 36 Metascore
    • 40 Critic Score
    Something Borrowed
    This rom-com certainly has something old, something borrowed and something blue-the something new, however, is MIA.
    • 71 Metascore
    • 40 Critic Score
    Personal Best
    A hesitation in dealing fully with the central relationship, coupled with an over-reliance on slow-motion photography, finds the film losing momentum almost before it leaves the starting blocks.
    • 72 Metascore
    • 40 Critic Score
    They Shoot Horses, Don't They?
    The acting is strident and overblown, the narrative technique gimmicky and obvious, and the implication that the competitors' situation is a microcosm of a wider-reaching American malaise (though safely distanced by the period and the flash-back-and-forth narrative technique) rather pretentious.
  13. Max Manus
    Despite the subtitles, it's basically a slice of formulaic Hollywood-style mythmaking, writ large and woefully empty.
  14. Caught in the Web
    No stranger to controversy, Fifth Generation Chinese filmmaker Chen Kaige (Farewell, My Concubine) has always taken his country to task over bureaucratic and social issues; here, the director goes after both old-media exploitation and new-media omnipresence, and the result is less than cutting.
  15. The Secret Life of Walter Mitty
    You’re going to find it all either enormously empowering or deeply calculated: an Arcade Fire–scored TV commercial for instant spirituality.
    • 39 Metascore
    • 40 Critic Score
    The Concorde... Airport '79
    A deafening sonic yawn signs off this desperate finale to Universal's Arthur Hailey-inspired quartet of in-flight entertainments.
    • 68 Metascore
    • 40 Critic Score
    Smash His Camera
    Galella's real crime goes conspicuously unmentioned: feeding the cult of celebrity while stoking a public appetite for empty gossip as news.
  18. LOLA
    There’s much to admire here, but with Legge’s keen eye for the technical side of cinema stronger than his narrative impulses, LOLA ultimately has to go down as an ambitious failure.
    • 37 Metascore
    • 40 Critic Score
    The Delta Force
    Students of minimal acting techniques can compare Marvin and Norris: impassivity versus vacancy. Students of the disaster film should write a short thesis on why George Kennedy is ubiquitous. Everyone else might wonder why the film is so virulently anti-Arab.
  20. Grudge Match
    Even by low standards, Grudge Match is astonishingly undercooked.
  21. Get Low
    This is the kind of autumnal sentimentality that the Academy goes wild for-a (rightly) venerated performer acknowledging his own mortality by pandering to cheap-seat emotions.
    • 47 Metascore
    • 40 Critic Score
    The Mirror Crack'd
    Though it's obvious after five minutes that this is a complete no-no, the cinema equivalent of a bellyflop, it exercises a perverse fascination.
    • 83 Metascore
    • 40 Critic Score
    Grey Gardens
    A film that is voyeuristic in the extreme, extending no warmth to the bizarre mother and daughter as they battle out their lives together, but choosing instead to film them in the most offensive of ways.
    • tbd Metascore
    • 40 Critic Score
    Ramchand Pakistani
    The film fails to latch on to a consistent tone, shifting between scenes of prison life and the struggles of the family matriarch left alone--both of which are a bit too polished--turning a moving story into something emotionally lifeless
    • 56 Metascore
    • 40 Critic Score
    Dinner for Schmucks
    The Americanized version reconfigures the plot as both a hazing ritual for corporate-ladder-climbers and a lazy hook to hang cheap jokes on.
  26. The Homesman
    The script—which Jones, Kieran Fitzgerald and Wesley Oliver adapted from Glendon Swarthout's 1988 novel—shifts uneasily between tragedy and comedy.
  27. The 33
    The 33 makes shameless lunges at religious imagery via ghostly auras and this-is-my-flesh apportioning of daily rations. It feels tacky, and only late in the game does Riggen find the script’s most interesting idea, about unwanted celebrity. Miner story, major fail.
    • 53 Metascore
    • 40 Critic Score
    A Goofy Movie
    Insipid songs and not much story.
    • 73 Metascore
    • 40 Critic Score
    Of Mice and Men
    Seems doomed to remain a period piece.
  30. Welcome to the Rileys
    Only Leo, always a dependable supporting actor, turns her character into something resembling a three-dimensional person. Watching her tentatively reconnect with her maternal instincts is a welcome surprise. Everything else here just feels like another descent into mediocre Amerindie miserablism.
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