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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    • 48 Metascore
    • 60 Critic Score
    Burnt Offerings
    The current minor boom in American horror films has two notable features: the single-minded concentration on the nuclear family as a point of attack, and the consistent rejection of happy endings. This tale of a family taking a spooky old mansion for the summer would be strictly formula stuff were it not for these elements; but veteran Eugène Lourié's art direction helps.
    • 64 Metascore
    • 70 Critic Score
    Marathon Man
    Adapted by William Goldman from his own novel, this thriller is quite effective in its basic set pieces, even if the overall thrust seems a trifle ponderous.
    • 71 Metascore
    • 40 Critic Score
    Bugsy Malone
    Paul Williams’ annoyingly hummable honky-tonk soundtrack punctuates proceedings, which graze the zenith of that seventies inclination towards sexualising teen performers (think ‘Minipops’ in America).
  4. At the Earth's Core
    Scantily clad Ms Munro, vengeful telepathic pterodactyls and cut-price explosions comprise a familiar mix, but it's daft enough to enjoy if you're in a schoolboy mood.
    • 41 Metascore
    • 60 Critic Score
    Gator
    Too much of this is tedious, rather like off-cuts from his recent movies, but the reasonable photography and good action material help. Country singer Jerry Reed makes a good heavy, and when Reynolds keeps it simple, his direction suggests the makings of a modest craftsman.
    • 77 Metascore
    • 80 Critic Score
    The Shootist
    A subtle, touching valedictory tribute to both Wayne and the Western in general.
    • 46 Metascore
    • 30 Critic Score
    Futureworld
    The script, which labours under polysyllabic mumbo-jumbo at times, is infantile, while the performances, apart from a sprightly Danner as Fonda's TV cohort, are spineless.
    • 59 Metascore
    • 50 Critic Score
    Obsession
    Schrader and De Palma's tribute to Hitchcock's Vertigo may lack the misogyny and bloodbath sensationalism of De Palma's later work, but it's still dressed up in a mortifyingly vacuous imitation of the Master's stylistic touches.
    • 39 Metascore
    • 60 Critic Score
    To the Devil a Daughter
    The film's unlikely trump card is Richard Widmark as a credibly sceptical supernatural investigator, who romps through the proceedings with a disarming stoicism, but regrettably faces his devilish opponent Lee only in the closing sequence. It's a good deal more interesting than the rest of the possession cycle, but still a disappointment.
    • 37 Metascore
    • 30 Critic Score
    The Gumball Rally
    Pitched at cartoon level, with a bizarre collection of speed enthusiasts crudely taking care of the comedy, it relies almost exclusively on the exceptional stunt work, the plot only occasionally dropping into first gear for some boring and irrelevant dramatic stuff.
    • 54 Metascore
    • 60 Critic Score
    Lifeguard
    A film that can narrow choices down to making a million as a car salesman, or drifting with alternate complacency and anxiety into middle-age as a superannuated beach bum, has something going for it in the way of cumulative obsessiveness.
    • 35 Metascore
    • 40 Critic Score
    Cannonball!
    Cannonball lacks its predecessor's dramatic tension, and by the middle of the film Bartel's disregard for narrative in favour of a series of jokes leaves no dramatic resolution.
    • 58 Metascore
    • 70 Critic Score
    Shivers
    Misanthropic, indeed, but the black humour and general inventiveness place it high above most contemporary horror pictures.
    • 71 Metascore
    • 50 Critic Score
    The Tenant
    Everything except the dubbing of the French supporting cast is a model of craftsmanship, but as the plot escalates into increasingly arbitrary excesses of fantasy and heads for the predictable pay-off, the movie looks more and more like a potboiler.
    • 61 Metascore
    • 50 Critic Score
    Buffalo Bill and the Indians, or Sitting Bull's History Lesson
    Some of it comes off well, and Newman is superb. But the film shows tiresome signs of its origins as a stage play (by Arthur Kopit), and the good moments aren't quite enough to make up for its overall predictability.
    • 53 Metascore
    • 40 Critic Score
    Logan's Run
    The lavish production has some good effects sequences, but its plot is as corny as the dreadful lurex drape costumes and Jerry Goldsmith's slushy score. Fundamentally, this is just further proof of Hollywood's untiring ability to reduce all science fiction to its most feeble stereotypes.
    • 59 Metascore
    • 60 Critic Score
    Murder by Death
    Murder by Death is entertaining enough, even though the joke wears a little thin.
    • 48 Metascore
    • 40 Critic Score
    Midway
    Noisy, incomprehensible and lumberingly irrelevant, complete with shell-schlock Sensurround.
    • 20 Metascore
    • 20 Critic Score
    The Food of the Gods
    It's a piece of low-budget rubbish (based on a portion of HG Wells' 1904 fantasy) featuring all the genre's well-loved ingredients: a frightful script, variable special effects, and a weird bunch of actors who manage to look just a little less ludicrous than the giant rats.
    • 75 Metascore
    • 50 Critic Score
    Silent Movie
    It's the kind of silliness that's too strained and self-indulgent to be enjoyable.
    • 55 Metascore
    • 50 Critic Score
    The Last Hard Men
    The occasional elegiac tone lamenting the passing of the West seems entirely out of place. Only Michael Parks, still aping James Dean at nearly 40, provides some welcome distraction.
  22. The Man Who Fell to Earth
    It may be time to stop calling Nicolas Roeg's sexed-up sci-fi film that vaguely demeaning term - a cult classic - and start addressing it as what it is: the most intellectually provocative genre film of the 1970s.
    • 65 Metascore
    • 80 Critic Score
    The Missouri Breaks
    It's one of the few truly major Westerns of the '70s, with a very clear vision of the historical role played by fear and violence in the taming of the wilderness.
    • 25 Metascore
    • 20 Critic Score
    Grizzly
    'No way!' twice in the first five lines of dialogue let you know what to expect from this attempt to ape Jaws, so to speak.
    • 67 Metascore
    • 40 Critic Score
    That's Entertainment, Part II
    The juxtaposition of clips is mindless; and between the indigestible chunks come newly-filmed scenes with Kelly and Astaire, which manage to be even worse than some of the clips. And their asinine commentary damagingly intrudes into the numbers.
    • 60 Metascore
    • 70 Critic Score
    Stay Hungry
    Based on a Charles Gaines novel about the rootlessness of the so-called 'New South', it has its slack spells, but Rafelson's sure feel for the inexpressible subtleties of emotional relationships is evident throughout.
  27. All the President's Men
    Inevitably softened by hints of self-congratulation concerning the success of Woodward and Bernstein's uncovering of the Watergate affair, Pakula's film is nevertheless remarkably intelligent, working both as an effective thriller (even though we know the outcome of their investigations) and as a virtually abstract charting of the dark corridors of corruption and power.
    • 79 Metascore
    • 100 Critic Score
    Family Plot
    Beneath all the fun, there's a vision of humans as essentially greedy and dishonest, presented with a gorgeously amoral wink from Hitchcock, and performed to perfection by an excellent cast.
    • 54 Metascore
    • 50 Critic Score
    Eat My Dust
    Griffith's directorial debut - after 20 years of scripting for Corman - does deliver the expected race/chase/demolition derby mayhem, but every time the focus switches to Ron Howard's adolescent romantic worries, it stalls.
    • 68 Metascore
    • 80 Critic Score
    Face to Face
    The acting is intense, as you would expect from Ullmann and Josephson, working under a director who was coming to terms with his own breakdown in this film; and the nightmare imagery (washed-out backgrounds clashing vividly with stark colours) delivers a strong jolt to the subconscious.
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