Time Out's Scores

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For 6,418 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,499 out of 6418
  2. Mixed: 3,444 out of 6418
  3. Negative: 475 out of 6418
6418 movie reviews
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    • 44 Metascore
    • 50 Critic Score
    Welcome Home, Roxy Carmichael
    There are a few piquant ironies at work, but the selling point is Ryder, again doing her coming-of-age turn for the camera, with a performance that wavers between gangling fragility and a tough-girl Matt Dillonism. Otherwise, the movie falls flat, because of its leaden pacing, and because deep down it believes in the moral imperative of having perfect hair and teeth.
    • 59 Metascore
    • 70 Critic Score
    Memphis Belle
    Inspired by real-life events covered in Wyler's WWII documentary The Memphis Belle, this David Puttnam production may not be the most original movie around, but at least Caton-Jones steers through the stock situations with verve and panache.
    • 49 Metascore
    • 20 Critic Score
    Marked for Death
    An ugly movie, with lousy wardrobe to match.
    • 62 Metascore
    • 50 Critic Score
    Henry & June
    Kaufman's account of the triangular affair between Henry Miller (Ward), his wife June (Thurman) and Anais Nin (Medeiros) in '30s Paris is certainly good to look at, edited like a dream, and about an hour too long. Intelligently scripted, particularly good on the pain in relationships, it doesn't shed much light on the literary commerce between the writers.
    • 33 Metascore
    • 40 Critic Score
    Desperate Hours
    Not desperate, but disappointingly ordinary.
    • 79 Metascore
    • 80 Critic Score
    An Angel at My Table
    There are none of the usual artist-biopic clichés here. Frame, as embodied by three uncannily-matched actresses, is bright but intensely, awkwardly passive, and inhabits a chaotic, arbitrary universe. Watching her hard, slow struggle for self-respect, happiness and peace becomes a profoundly moving, strangely affirmative experience.
    • 55 Metascore
    • 60 Critic Score
    Pacific Heights
    Schlesinger stages the action with smooth assurance, gradually building tension until Hayes goes completely round the bend. The problem lies in Daniel Pyne's script: the relationship between Drake and Patty is half-realised, while Hayes' motivations remain strangely muddled. That said, Keaton is chillingly convincing.
    • 49 Metascore
    • 60 Critic Score
    Texasville
    Sentimentality intrudes as Bogdanovich, determined to introduce a hymn to the healing power of friendship, loses the courage of his comic convictions. It all looks good, though, and the actors - epecially Bridges and Potts - are clearly having a ball.
    • 53 Metascore
    • 70 Critic Score
    Narrow Margin
    Hyams boosts the set-up with some heavy-duty action, but the journey follows essentially the same tracks as in '52 for an exciting ride. Hackman is boringly good, but Archer (like Marie Windsor before her) enjoys the more ambivalent role.
    • 66 Metascore
    • 80 Critic Score
    White Hunter Black Heart
    Ably aided by a fine cast and Jack Green's no-nonsense photography, Eastwood constructs a marvellously pacy, suspenseful movie which is deceptively easy on both eye and ear.
    • 31 Metascore
    • 40 Critic Score
    Repossessed
    Worth a few cheap pubescent laughs, but Exorcist fans will doubtless feel cheated.
    • 41 Metascore
    • 60 Critic Score
    Hardware
    An energetic, low-budget Pandora's Box of delights, tailor-made for the disposable '90s.
    • 82 Metascore
    • 90 Critic Score
    The Killer
    The most dementedly elegiac thriller you've ever seen, distilling a lifetime's enthusiasm for American and French film noir, with little Chinese about it apart from the soundtrack and the looks of the three beautiful leads.
    • 68 Metascore
    • 40 Critic Score
    Opera
    All the trademarks are here: minimal plot, striking set pieces, baroque camera movements, misogynist violence. As always, though, the most horrific thing is the dubbing.
    • 78 Metascore
    • 100 Critic Score
    After Dark, My Sweet
    Nobody trusts anybody, and they're right. Dern, always awkward, has matured into a showpiece of behavioural hairpin bends. Excellent.
    • 34 Metascore
    • 60 Critic Score
    Men at Work
    The grotesque practical jokes perpetrated against two interfering bumblers are genuinely funny, while Estevez and Sheen remain cutely goofy even when indulging themselves in this adolescent idiocy.
    • 78 Metascore
    • 70 Critic Score
    The Witches
    Strange and scary enough to fascinate parents and offspring alike.
    • 48 Metascore
    • 70 Critic Score
    The Exorcist III
    With the exception of an unnecessary spectacular climax, this is a restrained, haunting chiller which stimulates the adrenalin and intellect alike.
    • 42 Metascore
    • 30 Critic Score
    Taking Care of Business
    Through crass over-emphasis and sloppy continuity errors, Hiller fumbles most of the jokes away. The roles fit Belushi/Grodin like rubber, but the rest is second-rate.
    • 61 Metascore
    • 40 Critic Score
    Mo' Better Blues
    A messy, meandering script ensures that, despite stylish camerawork and sturdy acting, this lengthy indulgence succeeds neither as jazz movie nor as cautionary tale.
    • 47 Metascore
    • 50 Critic Score
    Young Guns II
    The plot is all pot-shots and posses, with a bit of Indian hocus-pocus thrown in for comic relief. In other words, more of the same.
    • 78 Metascore
    • 80 Critic Score
    The Freshman
    The casting, needless to say, is perfect, and Bergman keeps the various escalating intrigues clipping along at a brisk pace.
    • 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.
    • 67 Metascore
    • 70 Critic Score
    Arachnophobia
    Frank Marshall has crammed the screen with plenty of knee-jerk thrills interlaced with black humour. Designed to reduce the audience to a squirming mass, the film yields plenty of grisly pleasures.
    • 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.
    • 42 Metascore
    • 50 Critic Score
    RoboCop 2
    Kershner's direction is never more than adequate, and the story seems full of unfulfilled promise and tangled threads. It's also deeply, disturbingly violent in a way which is more manipulative than gory; unlike the original, with its prophetic vision of the future, this sequel seems to spend too much time glorying in the very horrors it has outlined.
    • 52 Metascore
    • 70 Critic Score
    Betsy's Wedding
    Alda's skill is with witty, fast-talking patter and in coaxing fine performances from his actors (playing an extended family of gently caricatured New York types). The values are bollocks, but the film is fun.
    • 68 Metascore
    • 90 Critic Score
    Dick Tracy
    A spectacular movie whose technical achievements - notably the sharp editing - will surely provide a gauge by which subsequent comic strip films are judged.
    • 69 Metascore
    • 50 Critic Score
    Gremlins 2: The New Batch
    There's almost enough in-joke ingenuity to justify the total absence of plot.
    • 31 Metascore
    • 40 Critic Score
    Fire Birds
    With a gung ho script, sometimes rudimentary editing and uninvolving relationships, the whole effect is rather flat. None of the aerial sequences boast the visual thrills of Top Gun, while even the attempt to inject controversy in the shape of Hollywood's first female combatant is half-realised.
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