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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  1. Showing Up
    From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.
  2. Broker
    The hackneyed thieves-with-a-heart-of-gold trope is reinvigorated by the sharpness of the writing and Song’s Basset Hound charms. While Broker occasionally gets close to cloying, especially in its neat ending and jaunty score, Koreeda keeps it the right side of cutesy. It’s best enjoyed as a modern-day fairy tale – only, one where the abandoned baby sparks nothing but enchantment.
  3. Tori and Lokita
    For those masters of small-scale vérité social dramas, it’s such a bracing sensation to see them tiptoeing into genre terrain, you’ll forgive the fact that the villains are two-dimensional and that the ending is jarringly abrupt.
  4. Stars at Noon
    Vaguely redolent of Salvador, only slowed right down to a walking pace, or The Passenger without its seductive sense of place (and Jack Nicholson), The Stars At Noon is a mercurial thing and, as an unsuccessful Denis film, a rare one too.
  5. Elvis
    Every trick and technique here, from ingenious match cuts, to split screens and even comic-book cells, works to soup up the storytelling.
  6. Decision to Leave
    Wei is magnetic as the would-be killer who uses her patchy Korean as an additional smokescreen to manoeuvre behind. She ties the detective in knots, a shapeshifter whose true nature is beguilingly unclear.
  7. Moonage Daydream
    Whatever your favourite side to the limitlessly faceted David Bowie, this magnificently mind-bending film serves it up in a 140-minute career-spanning opus that races by in a snap of the fingers. It’s almost as extraordinary as the man himself.
  8. Holy Spider
    Abbasi offered a brilliantly leftfield perspective on immigration and otherness with his 2018 debut Border, and his follow-up takes no prisoners in his critique of Iranian society’s built-in misogyny and fake piety.
  9. Crimes of the Future
    There’s more than enough here to hope that Cronenberg still has a masterpiece or two yet to be emerge from within.
  10. Three Thousand Years of Longing
    A romantic fantasia set in Istanbul, George Miller’s mystical confection operates like the genie at its heart: it’s full of visual sleight-of-hand and boasts plenty of storytelling power, but soon disappears from your mind in a puff of smoke.
  11. Corsage
    Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff.
  12. Aftersun
    Aftersun flows like a fondly remembered memory that’s been replayed endlessly, as if trying to find an important detail that might explain what happened. The easy pace of Wells’s direction brings out the best in her central performers, and the chemistry between Mescal and Corio plays out effortlessly. The light moments between them are warm and the darker ones linger heavily
  13. One Fine Morning
    It explores love, both romantic and familial, with no trace of drama or sappiness, and without ever feeling slight. It’s a balm of a film and another glorious showcase for the director’s light touch when dealing with complicated emotions.
  14. Triangle of Sadness
    For the majority of the film, Östlund’s combination of sledgehammer and scalpel work a treat. They’re fast becoming the hallmarks of a satirist who’s unlikely to run short of subject matter any time soon.
    • 74 Metascore
    • 80 Critic Score
    Armageddon Time
    It describes itself as ‘a coming-of-age story that explores friendship and loyalty while America is poised to elect Ronald Reagan as President’. Considering that’s exactly when Gray himself was going from child to teen, this sounds like it could be his most personal film yet.
    • 69 Metascore
    • 60 Critic Score
    God's Creatures
    Family traumas and terrible lies permeate co-directors Saela Davis and Anna Rose Holmer’s drama, which is given a bedrock of emotional authenticity by screenwriter Shane Crowley and is exceptionally acted.
  17. Dashcam
    You have to hope that Hardy is not this annoying in real life, because by the time Dashcam’s supernatural menace reveals itself, you’re firmly on Team Blood-Spewing-Zombie. Maybe that’s the point. It’s hard to tell.
    • 40 Metascore
    • 40 Critic Score
    Father Stu
    Well-intentioned but ultimately mishandled, it commits the cardinal sin of indecisiveness, middling out in a purgatory of daddy issues and Sunday service pamphlets.
  19. a-ha: the Movie
    On one level, this is almost a really intriguing study of a very particular kind of first-world creative anxiety, but unfortunately, the fly-on-the-wall stuff just sounds like – as one of them calls it – ‘whining’. It looks like a real chore being in a-ha, around a-ha or possibly even a fan of a-ha.
  20. Vortex
    This is obviously a deeply personal subject for Noé, who has spoken about experiencing the fallout of dementia first-hand. But while his film gradually pummels you, it can’t match 2021’s superb dementia chamber piece The Father for impact or insight. As it grinds towards its slightly contrived ending, it does start to feel like rubbernecking.
  21. Benediction
    A benediction is a prayer for divine help. For any lover of beautifully crafted cinema with real emotional charge, Davies’s latest will feel a lot like an answer.
  22. Top Gun: Maverick
    Minor grumbles aside, few Hollywood reboots can boast this blend of nostalgia, freshness and adrenaline. You will want to high five someone on the way out.
  23. Men
    Garland has always flirted with obscurity, but in his best work this has been anchored by an enveloping depth of feeling. Now he has tumbled down a rabbit-hole here where no mortal man – not even a village of them, all played by Rory Kinnear – can follow.
  24. The Legend of Molly Johnson
    Rewriting the narrative through an anti-colonial, Black and feminist lens, Purcell bestowed a First Nations background and the moniker Molly Johnson on Lawson’s unnamed protagonist. Delving deeper into Molly’s troubles in the novel of the same name, this film marks her third spin at the material. It’s still riveting.
    • 66 Metascore
    • 70 Critic Score
    When Boys Leave Home
    It's directed by Hitchcock with imagination and, especially in the first half, much comedy. Essentially though, this should be filed under 'Novello'.
  26. Everything Everywhere All at Once
    The concept is a doozy, ripe with comedic juice and packed with visual thrills.
  27. Doctor Strange in the Multiverse of Madness
    Sure, Raimi’s latest Marvel entry is a theme-park ride, lighter on character development and heavier on gnarly sh*t that may signal a shift into a darker, more deranged phase of superhero storytelling. But it’s one hell of a ride.
  28. Il Buco
    Il Buco is certainly thoughtful and worthwhile, but perhaps just short of the revelation we were hoping for.
  29. Downton Abbey: A New Era
    The people of Downton Abbey have never been relatable, but they’re really pushing it this time.
  30. The Unbearable Weight of Massive Talent
    It's cheerfully nonsensical, of course, shot in a sun-drenched luxury compound straight from the big book of action movie clichés, yet lacking the flourishes of a John Woo or a Michael Bay.
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