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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    • 65 Metascore
    • 70 Critic Score
    The Fox and the Hound
    One of the more homely Disney animated features, neither hip like The Jungle Book nor (pardon the expression) trippy like Fantasia. We're back in that serene Disney woodland where bright flowers dot heavily shaded glades and snow plops off branches like ice-cream.
    • 63 Metascore
    • 70 Critic Score
    Crime in the Streets
    Like a zip-gun, cheap and effective.
    • 64 Metascore
    • 70 Critic Score
    Hamburger Hill
    There are a couple of rocky moments, but the large cast of unknowns go through hell convincingly, and illustrate the randomness of mortality.
    • 36 Metascore
    • 70 Critic Score
    Rollover
    Disconcerting in its kaleidoscopic shifts in tone, it's nevertheless too absorbing simply to dismiss.
    • 63 Metascore
    • 70 Critic Score
    Night Shift
    Likeable.
    • 71 Metascore
    • 70 Critic Score
    That Darn Cat!
    This typical - not unentertaining - mid-'60s Disney live-actioner has Hayley's Siamese following a trail of juicy salmon and unwittingly uncovering a kidnap plot.
    • 66 Metascore
    • 70 Critic Score
    The Pirates of Penzance
    The show is strewn with throwaway sight gags absent from the stage version which, while mercifully never quite sliding into camp, serve to apply a much needed cattle prod to Messrs G & S. The sets are superb.
    • 78 Metascore
    • 70 Critic Score
    Lifeboat
    The script, started by Steinbeck and finished by Hitchcock, appears too calculated. It's worth seeing, though, for Hitchcock's handling of actors in a confined setting, which incidentally introduces an elusive sense of size, a perspective that is heightened by much of the film being shot in close or semi-close-up.
    • 73 Metascore
    • 70 Critic Score
    They Drive by Night
    The first half has pace, and the wisecracking wit is often laid on thick and fast by Jerry Wald and Richard Macaulay's script, particularly in a scene with Ann Sheridan as a roadside café waitress. All the performances are good.
    • 76 Metascore
    • 70 Critic Score
    Dave
    A buoyant comedy in the Capra tradition.
    • 30 Metascore
    • 70 Critic Score
    Troll
    An amiable and humorous fantasy-cum-Faery tale in the Gremlins mould... The whole thing is jogged along nicely by the cast (especially the excellent Moriarty, jigging around manically to his '60s records), and has exactly the right balance between child-like wonder and gentle self-parody.
    • 49 Metascore
    • 70 Critic Score
    Class of 1984
    While there can be no doubt that in true tabloid style Class of 1984 feeds on everything it is condemning, as an energetic comic strip it has considerable fascination.
    • 40 Metascore
    • 70 Critic Score
    Lethal Weapon 3
    What this sequel delivers is still the kind of high-speed roller-coaster action that producer Joel Silver's films often do so well.
    • 50 Metascore
    • 70 Critic Score
    Wrong Is Right
    Veering wildly between a quite well-written satire on the contemporary American political scene and a very ham-fisted nuclear blackmail thriller, its sheer eccentricity is quite engaging.
    • 58 Metascore
    • 70 Critic Score
    Miss Firecracker
    Despite touches of enforced eccentricity, the story is redeemed by its observation of bittersweet relationships and self-deceptions.
    • 86 Metascore
    • 70 Critic Score
    The Great Escape
    Uneven but entertaining World War II escape drama, which even when it first appeared seemed very old-fashioned. Worth seeing the last half hour, if nothing else, for one of the best stunt sequences in years: McQueen's motor-cycle bid for freedom.
    • 93 Metascore
    • 70 Critic Score
    The Decline of Western Civilization
    It's far from unmissable, but it's valuable rock history with some great noise.
    • 65 Metascore
    • 70 Critic Score
    A Fine Madness
    An engaging, sharply scripted comedy (Elliott Baker, from his own novel), with Connery oddly but not inaptly cast as a poet driven berserk by the frustrations of wage-earning in New York.
    • 87 Metascore
    • 70 Critic Score
    She Wore a Yellow Ribbon
    The centrepiece of Ford's cavalry trilogy (flanked by Fort Apache and Rio Grande) and a film of both elegiac sentiment and occasionally over-eloquent sentimentality, structured around a series of ritual incidents rather than narrative conflicts.
    • 71 Metascore
    • 70 Critic Score
    Period of Adjustment
    All in all, it's an appealing mix, even if the shifts in tone seem to unsettle cast and director alike. First-rate performances, though, especially from Fonda, as a wide-eyed Southern belle.
    • 45 Metascore
    • 70 Critic Score
    Paternity
    Any notion that a topical social issue will be taken as seriously as it deserves is decisively scotched long before the thoroughly predictable romantic ending; but Paternity is difficult to actually dislike, largely because of its engaging duo of stars.
    • 76 Metascore
    • 70 Critic Score
    The Holy Mountain
    With Jodorowsky's meaning somewhat opaque, it's slightly tedious going, but you certainly get plenty to look at.
    • 99 Metascore
    • 70 Critic Score
    Pinocchio
    Pinocchio, in fact, probably shows Disney's virtues and vices more clearly than any other cartoon.
    • 67 Metascore
    • 70 Critic Score
    Desert Hearts
    Deitch is well served by Shaver as the teacher and Charbonneau as the young seducer. Best of all, however, is the way the movie dignifies all its characters.
    • 61 Metascore
    • 70 Critic Score
    Godzilla, King of the Monsters!
    This ballad of destruction reveals itself as one of the most exciting, enjoyable and moving of them all.
    • 65 Metascore
    • 70 Critic Score
    The Hot Rock
    Redford and Segal are both good, parodying their normal images, as the thieves who steal the Sahara Stone from the Brooklyn Museum and spend the rest of the film chasing after it. Like Cops and Robbers it's a lightweight film, but enjoyable nonetheless.
    • 59 Metascore
    • 70 Critic Score
    Untamed Heart
    Slater's greasy-haired 'Beast' is not for the hard-boiled, but see the film for Tomei's sensitive, doe-eyed 'Beauty', and for Bill's sure feel for an authentic downtown milieu.
    • 54 Metascore
    • 70 Critic Score
    Blue Steel
    Short on plausibility but preserving the psycho-sexual ambiguities throughout, Bigelow's seductively stylish, wildy fetishistic thriller is proof that a woman can enter a traditionally male world and, like Megan, beat men at their own game.
    • 59 Metascore
    • 70 Critic Score
    Junior
    A one-joke movie, but at least it's a good joke.
    • 56 Metascore
    • 70 Critic Score
    Invaders from Mars
    The effects are magnificent (the tripod drones and the supreme Martian intelligence are horrific), but whereas the original worked by building up an increasingly black mood, this version relies almost entirely on the special effects; and such limited brooding tension as it has is gratuitously undermined by a string of sequences played purely for laughs...Fun, but very silly.
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