Time Out's Scores

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For 6,370 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: 61
Highest review score: 100 Pain and Glory
Lowest review score: 0 Surf Nazis Must Die
Score distribution:
  1. Positive: 2,473 out of 6370
  2. Mixed: 3,422 out of 6370
  3. Negative: 475 out of 6370
6370 movie reviews
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    • 72 Metascore
    • 80 Critic Score
    Under Fire
    A thrilling film, with a head, a heart, and muscle.
    • 57 Metascore
    • 60 Critic Score
    Brainstorm
    As a thriller it's a bit soft, as sci-fi it's a bit simple.
    • 51 Metascore
    • 70 Critic Score
    Eddie and the Cruisers
    Low key and, despite the music, rather likeable.
    • 39 Metascore
    • 40 Critic Score
    Nightmares
    The scripting is unimaginative, derivative, and desperately predictable as the film limps through its jokily cautionary tales.
    • 53 Metascore
    • 40 Critic Score
    Merry Christmas Mr. Lawrence
    The web of relationships between English and Japanese is too schematic in its polarisation of characters, Oshima's handling of the narrative is not so much elliptical as awkward, and Bowie's performance is embarrassingly wooden.
    • 50 Metascore
    • 30 Critic Score
    Strange Brew
    Here Von Sydow's a rival beer manufacturer hoping to take over the world by drugging his brew, but the plotline (derived from Hamlet) soon goes flat.
    • 45 Metascore
    • 40 Critic Score
    Fire and Ice
    It may well satisfy a low IQ, pubescent (probably) male Iron Maiden fan, but the rest of us are poorly served.
    • 82 Metascore
    • 80 Critic Score
    Mirror (1975)
    Tarkovsky goes for the great white whale of politicised art a history of his country in this century seen in terms of the personal and succeeds. [18 Aug 2004, p.90]
    • Time Out
    • 60 Metascore
    • 50 Critic Score
    The Star Chamber
    Just as Douglas discovers that he can go only so far along the extra-judicial path, so the film's line of reasoning twists part-way, falters, then ties itself into tangled and inconclusive knots.
    • 45 Metascore
    • 60 Critic Score
    Krull
    Strong on stunts and special effects but often rambling and ponderously lurching into comedy, it's not the greatest of Christmas treats, but does have enough cherishable moments between the wordy longueurs; and in Lysette Anthony's Princess Lyssa, a heroine for whom many a young Turk would walk through fire and ice.
    • 55 Metascore
    • 50 Critic Score
    National Lampoon's Vacation
    Not so much a comedy about American values as a 2,500 mile skid on a banana skin. The visual gags come thick and fast, and are about as subtly signposted as the exit markers on a freeway. An exercise in the comedy of humiliation which is the stuff of shamefaced giggles.
    • 39 Metascore
    • 30 Critic Score
    Yellowbeard
    The script, for which Chapman and Cook must bear some responsibility, is a three-minute Python skit bloated out to feature length, involving buried treasure, revenge, and machinations close to the throne. Depressing stuff.
    • 44 Metascore
    • 60 Critic Score
    Superman III
    Unfortunately the pacy humour of the first half soon dwindles to a weak climax, and Pryor hams shamelessly, yet again proving that he's best in serious parts or as a stand-up man. Enjoyable, nevertheless.
    • 52 Metascore
    • 80 Critic Score
    Breathless
    A wanton, playful film, belying the stated despair by its boiling energy.
    • 52 Metascore
    • 60 Critic Score
    The Hunger
    Visual sensualities will have a feast, but you'll have to read Whitley Strieber's novel if you don't want to emerge with a badly scratched head.
    • 68 Metascore
    • 40 Critic Score
    Something Wicked This Way Comes
    Ultimately, though, it's an uneasy blend of horror and whimsy, with the allegory being hammered a little too hard for comfort. It's also marred by some dreadfully tacky special effects and set designs.
    • 72 Metascore
    • 40 Critic Score
    Koyaanisqatsi
    At once maudlin and doggedly sarcastic, the film gives you the uncomfortable sensation of being condescended to by an idiot; it is, transparently, a product of the advanced technology it purports to despise.
    • 17 Metascore
    • 10 Critic Score
    My Tutor
    Both flap their eyelashes and flash their toothpaste smiles, but are insipid and boring as they go through the motions of nude swimming, clinging wet T-shirts, shared bubble baths and lyrical love scenes. Puerile dross which dares to speak with feeling of the value of sex while making such an obvious play for the soft porn market.
    • 65 Metascore
    • 40 Critic Score
    Lone Wolf McQuade
    As senseless violence goes, this is very senseless and very violent. Norris is a Texas Ranger, Carradine an oily Senator smuggling weapons to 'Central American terrorists', but the storyline has more non sequiturs than bodies, which is saying something.
    • 66 Metascore
    • 70 Critic Score
    Liquid Sky
    A bizarre, often hilarious melee of weird drugs, weird sex and off-the-wall camp.
    • 34 Metascore
    • 30 Critic Score
    Screwballs
    However one rates the bosom as an erogenous zone, it takes the talents of a Russ Meyer to make it interesting for eighty minutes. Watching the unflagging, unfunny efforts of five callow youths to see the homecoming queen's breasts, one only wonders if ever in the field of endeavour so much has been done by so many for just two.
    • 74 Metascore
    • 70 Critic Score
    Heart Like a Wheel
    Race fans won't be disappointed, but the real bonus comes from a perfect performance of tough understatement from Bonnie Bedelia as the three-time winner. The wheel may be a flash chrome slot-mag, but the heart is gold.
    • 45 Metascore
    • 60 Critic Score
    The Outsiders
    Lightly likeable, but the kids at whom it's aimed would probably rather be leaping in the aisles to Duran Duran, while their parents would opt for a rerun of Rebel Without a Cause.
    • 42 Metascore
    • 60 Critic Score
    High Road to China
    There is absolutely no feeling for the period, and the actors make no attempt to rise above the script's feeble idea of verbal sparring. But the Yugoslav locations are scenic, the aerial stunts are efficient, and there's an explosion every time interest starts to flag.
    • 63 Metascore
    • 80 Critic Score
    Wild Style
    Mixing early-’80s nostalgia with mild social anthropology, the film successfully crystallises the optimism and vivacity of the early New York hip hop scene and suggests that film and TV portrayals of the Bronx as a savage and inhospitable hellhole were perhaps greatly misjudged.
    • 78 Metascore
    • 100 Critic Score
    Tender Mercies
    For all its simplicity, this is bold, heartfelt filmmaking. A masterpiece.
    • 79 Metascore
    • 90 Critic Score
    Gandhi
    Of course the film raises more questions than it comes near to answering, but its faults rather pale beside the epic nature of its theme, and Kingsley's performance in the central role is outstanding.
    • 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.
    • 83 Metascore
    • 80 Critic Score
    Local Hero
    Local Hero, which concerns the frustrations of a Texas oilman's attempts to buy up an idyllic Scottish village, ranks as a lyrical anti-urban comedy in the great tradition of films like I Know Where I'm Going and Whisky Galore!; and its essential triumph is to prove that comedy can still contain a gentle, almost mystical, aspect without necessarily being old-fashioned.
    • 35 Metascore
    • 50 Critic Score
    The Entity
    The Entity doesn't emerge quite as one-dimensionally nasty as its synopsis suggests. The film's men are so uniformly creepy, and its heroine so strong and sympathetic, that apart from a couple of unpleasant moments the story often seems less like horror than feminist parable, especially when Hershey (giving a fine performance) is reduced to a laboratory object with her home recreated in the psychology department.
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