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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    • 50 Metascore
    • 30 Critic Score
    Lassiter
    Somewhere in the Hollywood hills there's a computer loaded with a software programme called BuildaStar. A hack punched in the script requirements for this intended star vehicle for Selleck: an action yarn pitting an American loner against evil Nazis, bent coppers, a sultry girl-friend; sardonic sex with a lashing of perversity and gratuitous nudity; dare-devil stunts and chases for excitement.
    • 83 Metascore
    • 40 Critic Score
    Tenebrae
    It does confirm Argento's dedication to the technicalities of constructing images - Grand Guignol for L'Uomo Vogue, perhaps - but you'll still end up feeling you've left some vital digestive organs back in the seat.
    • 51 Metascore
    • 50 Critic Score
    Unfaithfully Yours
    Amiable but half-baked remake of what was anyway one of Preston Sturges' least satisfactory comedies.
    • 82 Metascore
    • 80 Critic Score
    Broadway Danny Rose
    The jokes are firmly embedded in plot and characterisation, and the film, shot by Gordon Willis in harsh black-and-white, looks terrific; but what makes it work so well is the unsentimental warmth pervading every frame.
    • 75 Metascore
    • 80 Critic Score
    El Norte
    Traditional immigrant films from Hollywood (The Godfather?) end in fame, money and beautiful women for the inheritors of the new found land's promise; but El Norte gives us a vision of the downside of the American dream. The film's concentration on the plight of its young hopefuls, however, is done with much humour and compassion, so that the tragedy of its message is very bracing.
    • 39 Metascore
    • 50 Critic Score
    Hot Dog... The Movie
    Predicting that we might soon weary of downhill action, this virtually plotless ski picture is decorated with hot tub frolics and a wet T-shirt contest.
    • 74 Metascore
    • 80 Critic Score
    Nostalghia
    Tarkovsky remains as much a metaphysician as anything else, and Nostalgia isn't an entertainment but an article of faith.
    • 68 Metascore
    • 40 Critic Score
    Yentl
    This lumbering, overwrought, and wildly self-indulgent adaptation of Isaac Bashevis Singer's frail short story is clearly cranked up with the full quotient of sincerity and conviction.
    • 53 Metascore
    • 60 Critic Score
    BMX Bandits
    Obviously made on a TV budget, the plot is weedy, and the film is saved only by some neat stunts and the splendour of the Australian landscape.
    • 61 Metascore
    • 80 Critic Score
    To Be or Not to Be
    Johnson may not quite have Lubitsch's lightness of touch, but he puts an excellent cast through their paces with great verve, and the charm is as potent as ever.
    • 60 Metascore
    • 50 Critic Score
    Gorky Park
    Hurt and Dennehy are excellent, as ever, but Marvin is badly miscast as a ruthless smoothie; and the film as a whole, while never less than involving, seldom generates any real suspense as it moves towards a curiously muffled showdown.
    • 52 Metascore
    • 50 Critic Score
    Sudden Impact
    The real problem here is technical; Eastwood the director is far less sure-footed than he was with the likes of Play Misty for Me or The Outlaw Josey Wales.
    • 28 Metascore
    • 30 Critic Score
    Amityville 3-D
    A plummeting lift, seances, a spontaneous combustion set-piece and prophetic-of-doom photos are timed to keep us engaged, but never coalesce into a joined-up plot.
    • 38 Metascore
    • 20 Critic Score
    The Beyond
    A shamelessly artless horror movie whose senseless story - a girl inherits a spooky, seedy hotel which just happens to have one of the Seven Doors of Hell in its cellar - is merely an excuse for a poorly connected series of sadistic tableaux of torture and gore.
    • 63 Metascore
    • 50 Critic Score
    Star 80
    The whole thing feel(s) more like a naughty snapshot than any artistic achievement.
    • 75 Metascore
    • 80 Critic Score
    Born in Flames
    Borden charts the explosive coming together of the women as they forge their own liberation, handling her story with audacity and making even the driest argument crackle with humour, while the more poignant moments burn with a fierce white heat.
    • 71 Metascore
    • 80 Critic Score
    Testament
    A gentle, loving, noble, angry and heartrending film.
  18. Possession
    There are plenty of movies which seem to have been made by madmen. Possession may be the only film in existence which is itself mad: unpredictable, horrific, its moments of terrifying lucidity only serving to highlight the staggering derangement at its core. Extreme but essential viewing.
    • 91 Metascore
    • 100 Critic Score
    The Right Stuff
    Kaufman (like Tom Wolfe, whose book The Right Stuff this is taken from) is well enough aware of the media circus surrounding the whole project, but still celebrates his magnificent seven's heroism with a rhetoric that is respectful and irresistible.
    • 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.
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