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. Summer Pasture
    The subjects - a husband and wife struggling to make ends meet, mostly for the well-being of their infant daughter - are eminently engaging.
  2. Soul Surfer
    Superb limb-erasing effects and lush cinematography are bonuses, though not so much the cloying presence of American Idol's Carrie Underwood.
  3. Holy Rollers
    It’s gratifying to see Eisenberg move past nerdy-cutie parts; his slim shoulders, it seems, are capable of handling more than Michael Cera’s leftovers.
  4. Strays
    It’s not one of this summer’s strongest entries, but it’s fun to spend 90 minutes in this dog-eat-dick world.
    • 49 Metascore
    • 60 Critic Score
    The Last Time I Saw Paris
    Despite a very corny script from Julius and Philip Epstein which borrows clichés from Casablanca and countless 'American in Paris' yarns, this remains an enjoyable (if heavy-handed) melodrama.
  6. The Cured
    The Cure’ has to be the first to reanimate corpses as a means of examining Ireland’s post-Troubles tensions. It’s a bold idea – and a good one – even if it never fully pays off in a ploddingly predictable final act.
  7. Rough Night
    Given its multitalented cast, Rough Night should have committed to the darkness (originally, the screenplay’s title was Move that Body). In execution, the women are asked only for flop sweat and nervous jabbering. Party on.
    • 71 Metascore
    • 60 Critic Score
    Yes, God, Yes
    Alice’s often-hilarious journey of self-discovery drives the narrative forward, but even at a breezy 78 minutes, Yes, God, Yes sometimes feels like it’s spinning its wheels.
  9. The Last Circus
    Inventive yet exhausting tale of two circus clowns.
  10. Rental Family
    Everything is wrapped up a little too neatly by the final act. But with the epidemic of loneliness only growing larger, maybe, every once in a while, a sweet, hopeful ending is exactly what audiences need from cinema. To feel seen. To be reminded that it's going to be okay.
  11. C.O.G.
    An adaptation of a short story from David Sedaris’s best-selling Naked collection, C.O.G. (short for “Child of God”) struggles from the outset to retain the snap of the NPR favorite’s hyperbolic humor while also grounding it in authenticity—a tonal disconnect that nonetheless serves to destabilize a potentially predictable coming-of-age tale.
    • 81 Metascore
    • 60 Critic Score
    The Trip to Bountiful
    Masterson's images of small-town America are imbued with a luminous and melancholy nostalgia, but otherwise the film is not mounted with any special imagination, and its fusty, old-fashioned (not to say reactionary) lauding of homespun values sticks in the craw.
  13. Godzilla
    It’s always fun to watch scaly, skyscraper-size behemoths lay waste to civilization, but a bit more human drama wouldn’t have gone amiss.
  14. Horse Money
    Horse Money is an ordeal, but you’ll be glad that Costa was there to help Ventura’s words find their way through the cracks.
  15. Amigo
    Amigo's penchant for polemics keeps upsetting any semblance of balance; how can anyone hear the grace notes when the soapboxing is so deafening?
  16. Arco
    Director Bienvenu, who also voices helpful robot Mikki in the French version, has crafted a family film that’s offbeat and full of heart.
  17. Hanna
    Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
  18. Irrational Man
    It all feels pretty familiar: the tortured genius, the younger woman, the plot taking a suffocating turn, murder as an existential debate, the world increasingly closing in on our antihero. But there’s something sloppy and sluggish about Irrational Man, even by Allen’s uneven standards.
  19. Lilies of the Field
    It might be significant as an early independent movie made good, but Poitier got better when he got angrier for In the Heat of the Night four years later.
    • 70 Metascore
    • 60 Critic Score
    The Four Musketeers: Milady's Revenge
    The second half of Lester's brilliant The Three Musketeers is a reasonably beguiling, if noticeably padded coda, with the best bits containing in abundance that quality of penetrating period wit which made its predecessor such a delight.
  21. The Dead Don't Die
    For all its inspired moments, this is a movie content to coast on the charms of its terrific cast of comedic actors. Welcome to Night of the Living Deadpan.
  22. Unhinged
    Crowe’s satisfyingly nasty turn deserves a bit more brains to go with the brawn.
    • 65 Metascore
    • 60 Critic Score
    If a Tree Falls: A Story of the Earth Liberation Front
    Considering its incendiary subject, Curry's approach is disarmingly tame; perhaps reframing the debate in less volatile terms is some kind of lukewarm triumph.
  24. A Simple Favor
    Once A Simple Favor hits the first of several I-can’t-believe-they-went there moments (there are a few too many), it loses some of its lure, and Feig never quite regains tonal control. But you won’t be bored by this.
  25. Tabu
    The whole second half suggests a new way of storytelling-like one of those Wes Anderson montages done by an obsessive fan of Hatari! To judge from Tabu's first hour, pacing is not Gomes's strong suit, yet the filmmaker who emerges might win you over.
  26. Anon
    There is some freaky fun here. Niccol’s food for thought leaves a lingering taste.
  27. District 13: Ultimatum
    Somewhat underwhelming sequel.
    • 51 Metascore
    • 60 Critic Score
    Think Like a Man
    Surprisingly entertaining, thanks to the cast's collective chemistry and the film's balance of appealing elements for both sides of the gender divide.
  29. Tammy
    They have little feel for the technical side of filmmaking; the imagery is flat and the editing amateurish. Most shots seem held for a beat too long or too short, wreaking havoc with the comic rhythm. Nonetheless, McCarthy and Falcone’s attempts to make Tammy more flesh-and-blood than a figure of fun are often poignant.
    • 63 Metascore
    • 60 Critic Score
    The Man with the Golden Arm
    Sinatra is excellent as the ex-con junkie trying to make it as a jazz drummer but pulled into a world of pushing, and Kim Novak convinces as his enigmatic mistress; but the casting of Eleanor Parker as his supposedly wheelchair-ridden wife is miscalculated, and Preminger's evocation of the social milieu of the drug user/pusher shows little sign of first-hand observation. 
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