Time Out's Scores

  • Movies
Select another publication »
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
view
per page
    • 57 Metascore
    • 60 Critic Score
    Powaqqatsi
    Like its predecessor Koyaanisqatsi, Reggio's wordless eco-doc is visually stunning, but undermined by a fairly serious flaw.
    • 45 Metascore
    • 50 Critic Score
    Above the Law
    Davis' direction is Miami Vice-tight, though with frequent attempts at humour: this, together with the caricature psycho-baddie (Silva), and the mixture of spectacular, bone-crunchingly realistic violence with a stab at topical socio-political commentary, makes for a very uncertain tone.
    • 70 Metascore
    • 70 Critic Score
    Lady in White
    A winning, if uneven, blend of affectionate nostalgia and supernatural scariness.
    • 61 Metascore
    • 70 Critic Score
    Brain Damage
    There are some nice comic moments though; in fact relying as heavily on its disquieting black humour as on images of physical disgust, the whole thing works far better as comedy than horror.
  5. My Neighbor Totoro
    An animated achievement almost without parallel.
    • 51 Metascore
    • 50 Critic Score
    Bright Lights, Big City
    It's hard to care much about Jamie Conway, an aspiring novelist who is dissipating his substance in New York on cocaine and parties: Fox hasn't the range to play anguish, so the explanatory voice-over is less a survival from the best-selling novel than a necessity.
    • 61 Metascore
    • 40 Critic Score
    Biloxi Blues
    The new recruits have standard issue hilarious-style problems - route marching, press-ups, food, the local brothel - but most of all they have psychotic, cruel-to-be-kind drill sergeant Walken. Why Walken plays him so dulcet and limp is beyond comprehension.
    • 18 Metascore
    • 20 Critic Score
    Police Academy 5: Assignment: Miami Beach
    The Apocalypse Now-style Wagnerian soundtrack that accompanies the air boat chase across the Everglades almost raises a smile. Otherwise it's business as usual: fart jokes.
    • 50 Metascore
    • 40 Critic Score
    Little Nikita
    Despite a screenplay by the esteemed Bo Goldman (One Flew Over the Cuckoo's Nest, Scent of a Woman), this lacklustre espionage thriller is bogged down with the sort of clichés you'd expect from the height of the Cold War.
    • 77 Metascore
    • 80 Critic Score
    Stand and Deliver
    The ensemble acting is excellent. Remember, kids, it all comes down to Self Respect.
    • 78 Metascore
    • 60 Critic Score
    Babette's Feast
    This is a pleasant but overgenerous and predictable film, so eager to embrace the good in people that it never fully succeeds as drama.
    • 86 Metascore
    • 90 Critic Score
    Hope and Glory
    Boorman's autobiographical film about family life during the Blitz is subversively light on the blood, sweat, tears and sacrifice, and a joy throughout.
    • 36 Metascore
    • 40 Critic Score
    Action Jackson
    Sometime stunt co-ordinator Baxley directs this feebly-scripted, sporadically exciting crime pic like a showpiece for his former speciality.
    • 44 Metascore
    • 30 Critic Score
    Satisfaction
    A tacky rock'n'roll drama which regurgitates clichés without any sense of shame.
    • 56 Metascore
    • 70 Critic Score
    Ironweed
    At last, a real part for Nicholson to sink his teeth into.
    • 52 Metascore
    • 40 Critic Score
    School Daze
    Swiftian satires on popular taste can backfire badly, and Spike Lee's attempt at black consciousness-raising through the armature of Animal House movies almost dies of the contusion it is trying to lance.
    • 88 Metascore
    • 80 Critic Score
    Au Revoir les Enfants
    Crisply photographed and directed with understated grace, the film can feel a little standoffish given the emotive subject matter. But with strong performances from the young leads and a vice-like air of mounting tension, it’s well worth revisiting.
    • 56 Metascore
    • 60 Critic Score
    Shoot to Kill
    Nice to see Poitier back and full of pep, albeit in a routine thriller.
    • 73 Metascore
    • 90 Critic Score
    The Unbearable Lightness of Being
    It's a rich, ambitious film, repetitive and voyeuristic in its eroticism, but exhilarating in its blend of documentary and fictional recreation to depict the Soviet invasion.
    • 41 Metascore
    • 40 Critic Score
    She's Having a Baby
    This is bitter-sweet compartmentalised, with the saccharine spooned on at the end. Even then it lacks flavour.
    • 59 Metascore
    • 50 Critic Score
    Cherry 2000
    Plus marks for the presence of the old-timers, but overall it's a walk on the mild side.
    • 72 Metascore
    • 70 Critic Score
    Candy Mountain
    A witty anti-road-movie with a subplot on the nature of the artist.
    • 50 Metascore
    • 40 Critic Score
    King Lear
    Another of [Godard's] essays on the impossiblity of making movies in our time, this has all the dreariness of a pathologist's dictated notes.
    • 67 Metascore
    • 70 Critic Score
    Good Morning, Vietnam
    Offering only hackneyed insights into the war, the film makes for stodgy drama. But Williams' manic monologues behind the mike are worth anybody's money.
    • 45 Metascore
    • 40 Critic Score
    Return of the Living Dead II
    Unlike O'Bannon's film, this is merely repetitive and dull, the tedium relieved only by the graphic brain-eating and Philip Bruns' deliciously OTT performance as the mad Doctor Mandel.
    • 41 Metascore
    • 30 Critic Score
    For Keeps?
    Though the film finally opts for ear-bashing histrionics, its prevailingly pedagogic tone is both coy and tricksy. The dialogue is relentless in its banality, the stereotype characters unattractive and poorly motivated, the plot protracted and predictable.
    • tbd Metascore
    • 40 Critic Score
    Ghost Chase
    With its silly script, lame acting, naff special effects, and laughable model work, this unfunny supernatural comedy looks like the sort of film its leading characters - a pair of teenage home movie-makers (Lively and McDaniel) - might have made themselves.
    • 71 Metascore
    • 80 Critic Score
    Tales from the Gimli Hospital
    There are moments of jaw-dropping inspiration, and many that are just impenetrably odd. But this is immensely winning for the rawness alone.
    • 54 Metascore
    • 40 Critic Score
    *batteries not included
    Robbins' handling of the human element is as sickly and soggy as a dunked doughnut, and the script makes gonks out of its characters. But the flirting frisbee scenes are pretty neat.
    • 56 Metascore
    • 60 Critic Score
    Throw Momma from the Train
    A lively black comedy, surprisingly stylishly directed by DeVito (his début), it thankfully soft-pedals on the hysteria front to concentrate on verbal non-sequiturs and quirky characterisation. If it all gets a little soft-centred towards the end, there's more than enough vitality and invention to be going on with.
Page:

Top Trailers

See all »
See all trailers »