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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    • 61 Metascore
    • 60 Critic Score
    The Return of the Pink Panther
    Fourth in the series, promisingly reuniting Edwards and Sellers with their respective careers not exactly buoyant since A Shot in the Dark ten years earlier, The Return of the Pink Panther delivers a good deal of that promise, from Richard Williams' ultra-ritzy animated credits to the four or five brilliantly timed set pieces of Clouseau-engineered mayhem.
    • 68 Metascore
    • 80 Critic Score
    French Connection II
    Hackman takes the enlarged role by the scruff of the neck and delivers yet another fine performance of doubt and the dawning awareness of his own weakness. Frankenheimer directs in taut, pacy fashion to keep the suspense high.
    • 58 Metascore
    • 40 Critic Score
    The Fortune
    Events degenerate into miscalculated farce and underline Nichols' continuing slick superficiality. Adrien Joyce's much hacked-about script sounds as though it was once excellent: a pity everyone treats it so off-handedly.
    • 79 Metascore
    • 80 Critic Score
    Smile
    Perhaps a more caustic picture was intended, but the film grows to like its characters, and the final result is amusingly indulgent and generous in a way few current American films are: one has to look to East Europe (especially the work of Milos Forman) for a similar quality of ironic compassion.
    • 61 Metascore
    • 40 Critic Score
    The Day of the Locust
    Admittedly the book, an elusive, mesmeric work of associated images and ideas, surreal and analytical, would present problems for the most talented of film-makers. But Schlesinger really blows it.
    • 58 Metascore
    • 60 Critic Score
    Death Race 2000
    Overall the movie isn't as synchromeshed as it might be; the rivalry between champions Carradine and Stallone isn't very interesting, and some of the gags aren't sick or funny enough. But it's a great audience film.
    • 47 Metascore
    • 70 Critic Score
    Supervixens
    Not Chapter 2 of Beyond the Valley of the Dolls, but it does find that old sexist reprobate Russ Meyer in agreeably rumbustious form.
    • 66 Metascore
    • 50 Critic Score
    Tommy
    The Who's ludicrous rock opera was in fact tailor-made for the baroque, overblown images and simplistic symbolism of Russell's style, which only means that this is both the movie in which he is most faithful to the ideas and tone of his material, and one of his very worst films.
    • 82 Metascore
    • 90 Critic Score
    Night Moves
    A truly enigmatic thriller and a key film of the '70s, brilliantly scripted by Alan Sharp.
    • 65 Metascore
    • 80 Critic Score
    Shampoo
    Made with all the awareness of hindsight, Shampoo offers a sharp sexual satire and a mature statement on both America and Hollywood in 1968.
    • 60 Metascore
    • 70 Critic Score
    The Great Waldo Pepper
    An underrated attempt to scrutinise the immature American screen hero, which simultaneously works as a fine belated addition to Hollywood's recurrent romantic fascination with flying.
    • 70 Metascore
    • 60 Critic Score
    The Four Musketeers: Milady's Revenge
    The second half of Lester's brilliant The Three Musketeers is a reasonably beguiling, if noticeably padded coda, with the best bits containing in abundance that quality of penetrating period wit which made its predecessor such a delight.
    • 57 Metascore
    • 40 Critic Score
    The Wilby Conspiracy
    Assets there are: Caine is served with some nice deadpan lines by Rod Amateau, and John Coquillon's photography is characteristically cool. But this is an unpleasant and invidious film, like Soldier Blue creaming the surface off profound racial issues to ease the killing along.
    • 54 Metascore
    • 50 Critic Score
    The Stepford Wives
    William Goldman's leisurely script and Forbes' dull direction never quite capture the subtleties of Ira Levin's novel about an idyllic Connecticut commuter village where the housewives are a bunch of domesticated dummies.
    • 62 Metascore
    • 50 Critic Score
    The Front Page
    Quite simply vulgar in comparison to its predecessors (especially Hawks' brilliant His Girl Friday), it relies too much on foul language, inappropriate slapstick, and superficial cynicism.
    • 69 Metascore
    • 70 Critic Score
    The Towering Inferno
    This is the disaster film which set the style for the genre in the decade to come.
  17. The Godfather: Part II
    When superfans speak of the superiority of The Godfather Part II, this is not merely to be contrary. Coppola took Mario Puzo’s pulp and darkened it with Nixonian paranoia and the power of political back rooms.
  18. Alice Doesn't Live Here Anymore
    Bitter-sweet and very charming.
    • 61 Metascore
    • 50 Critic Score
    Lenny
    The monochrome photography and pseudo-documentary interpolations can't disguise the basic Harold Robbins material, and the good performances (Hoffman and Perrine) stand little chance against Fosse's withering direction: the subject matter needs far defter psychological handling than it gets.
    • 88 Metascore
    • 100 Critic Score
    A Woman Under the Influence
    An astonishing, compulsive film, directed with a crackling energy.
    • 56 Metascore
    • 50 Critic Score
    Earthquake
    Flat, generally laughable hokum, and the film ends up nowhere near as interesting a comment on the psychological aspects of disaster as Juggernaut.
    • 67 Metascore
    • 70 Critic Score
    Phantom of the Paradise
    A highly inventive updating of the Phantom of the Opera story to the rockbiz world - complete with borrowings from Faust and The Picture of Dorian Gray.
    • 50 Metascore
    • 60 Critic Score
    Airport 1975
    A ridiculous sequel, bad enough to be enjoyable, what with its jumbo jet crammed full of Hollywood celebs - Gloria Swanson, Myrna Loy, Sid Caesar, even Linda Blair (as a teenager being rushed to a kidney transplant) who looks like she is going to vomit over two nuns.
    • 35 Metascore
    • 30 Critic Score
    Benji
    Against the novelty of the canine stunts one has to balance some terribly variable acting, poor lighting, and spotty photography. Attendant adults will probably find it a long haul.
    • 78 Metascore
    • 80 Critic Score
    Alice in the Cities
    There are points when the director allows his voice to ring a little loudly from behind the camera, but the richness and depth of both the photography and the characterisation manage to brush any signs of preachiness and sentimentality from view.
    • 65 Metascore
    • 60 Critic Score
    The Gambler
    Reisz's direction is panoramic, with aspirations towards the epic, when it should have been closer in and faster. The result is a highly melodramatic and romantic film, for all the veneer of disillusion, whose weighty statement too often swamps the potentially strong suspense.
    • 72 Metascore
    • 70 Critic Score
    It's Alive
    John Ryan's performance as the husband is particularly astute, and Bernard Herrmann's score milks the suspense for all it's worth.
  28. The Texas Chain Saw Massacre
    As much as any surrealist arthouse flick, Texas Chain Saw feels like a nightmare made real, an inescapable but entirely authentic vision of pure hell.
    • 84 Metascore
    • 70 Critic Score
    Early Spring
    Ozu's pessimism is deeply reactionary, and the idiosyncrasy of his methods is more interesting for its exoticism than anything else; but anyone who finds the socio-psychological problems of post-war Japan engaging will find the movie both fascinating and rather moving, simply as evidence.
    • 60 Metascore
    • 80 Critic Score
    Big Bad Mama
    Roger Corman's production, following up on his own Bloody Mama, is something of a delight. Although covering the familiar ground of bank robbing during the Depression, the film persistently and boisterously treads its own path.
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