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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  1. Miss Sharon Jones!
    Her whole life has been about beating the odds — it’s inspiring stuff.
  2. Lights Out
    The central idea here is as durable and effective as a well-told fireside ghost story, but in the cold light of day, the film fades.
  3. Equals
    Equals could be her least persuasive performance to date — and remember, Stewart has played a soldier at Guantanamo and a girl who dates a vampire.
  4. Café Society
    The soundtrack offers the expected jazz, while Allen himself, now sounding mumbly, offers intermittent, awkward narration. In the pantheon of his films, it’s a pretty but minor distraction.
  5. The Infiltrator
    The Infiltrator works best when it owns its Miami Vice–esque sizzle: Composer Chris Hajian breaks out the percolating Jan Hammer synthesizers, and the ’80s decadence wafts offscreen like a stink.
  6. Ghostbusters
    It turns out it’s okay to cross streams: Here’s a summer movie starring a girl squad proud of its big brains and tacky jumpsuits. You could call that a supernatural event in itself.
  7. Mike and Dave Need Wedding Dates
    Mike and Dave Need Wedding Dates follows a sturdy trajectory toward incipient maturity (and ceremonial catastrophe). If you don’t think about it too hard, you won’t hate it.
  8. Captain Fantastic
    The movie works best in the clan’s private world (even if rock climbing in the rain seems like poor parenting). But then it deflates: Frank Langella, normally a welcome presence, is clownishly directed as a mean grandfather, and the plot abandons its tensions too abruptly.
  9. Men Go to Battle
    The elliptical story of sibling despondency doesn’t quite hang together, though the groundswell of missed potential doesn’t come into focus until the film’s undeniably powerful closing moments.
  10. The Purge: Election Year
    The action is largely routine and the dialogue rarely more than functional, but DeMonaco, marshalling the franchise’s best production values yet, shrewdly taps into the angry zeitgeist; his vision of an America where the citizens are encouraged to express their basest emotions is more relevant than ever.
  11. Free State of Jones
    Writer-director Gary Ross (Pleasantville, Seabiscuit) knows how to please crowds, so there's fascination in his consistently wrongheaded impulse to add more historical details: lengthy scenes of exposition, even a leap decades into the future for a courtroom drama involving Knight's persecuted offspring. He's lost sight of the powerful drama at this story's heart, about the ennobling swirl of momentous events.
  12. Eat That Question: Frank Zappa in His Own Words
    His rock music gets a decent airing, but you wish more of the man’s perversity came through: his intimidating ego, the way he could exhaust his bandmates. And seriously, where is “Valley Girl” and his amazing kids? Not bitchin’ at all.
  13. Right Now, Wrong Then
    The first half of Right Now, Wrong Then fits the usual mold, but the real joke begins when the movie abruptly starts over and our hero — seemingly aware of his Groundhog Day do-over — makes subtly different (and smarter) choices the second time around in a rich and playful revision.
  14. The Shallows
    Add to the list of actors who, beautifully and boldly, go it alone in their own survival movies the name Blake Lively. Do it without laughing, because she’s the shark here: Even though The Shallows, a tremendously entertaining bit of fluff, pits her against a computer-generated great white, the poor creature never stands a chance.
    • 77 Metascore
    • 80 Critic Score
    Finding Dory
    While Finding Dory is definitely the kind of visual pleasure we’ve come to expect from Pixar, its storyline doesn’t always reach the heights of inventiveness upon which the gigantic animation studio has built its reputation. The film lacks the psychological probing of Inside Out, the existential ponderings of Wall-E, the gentle, stoic sadness of Up.
  16. Now You See Me 2
    Excruciatingly incoherent.
  17. De Palma
    It's more like confession, the director still seething and replaying Vertigo in his head, lost in the curves of his career. De Palma is a public therapy session that upturns all expectations.
  18. Teenage Mutant Ninja Turtles: Out of the Shadows
    Forget cowabunga, this is cowadunga. Still, the Oscar for Most Shamefully Contrived Scene goes to the scriptwriters for managing to get franchise eye-candy Megan Fox into a sexy schoolgirl outfit, which, any shorter, would land the film with an R rating.
  19. Art Bastard
    Breezy and vivid, Art Bastard ultimately delivers the person: criminally underrated yet still principled and generous. It just leaves you wishing for more defiance, especially when a conventional tone takes over with too many interviewees and overpowers the film’s most lucrative asset: a pulsating New York backdrop.
    • 68 Metascore
    • 60 Critic Score
    Popstar: Never Stop Never Stopping
    In a movie that deals almost exclusively in pals playing pop music and exposed penises, the boyish humor goes a long way. Call it a hit single, but don’t expect it to go platinum.
  21. Weiner
    When Kriegman is heard at a Weiner low point asking, “Why did you let me film this?” you’re glad the question is asked. But there’s no answer: The narcissism is all up there onscreen, but shame will have to wait for the sequel.
  22. Neighbors 2: Sorority Rising
    Just funny enough to not feel like a retread.
  23. The Nice Guys
    Ryan Gosling in a physical action-comedy? Whoever thought of the idea should be crowned genius of the year. With dynamite timing and uproarious gestures, Gosling mines his diverse abilities and becomes a blast in The Nice Guys.
  24. X-Men: Apocalypse
    There are no memorable action scenes—the closest we get is a virtual rerun of the time-freeze sequence from the previous movie. And the script is just nonsense, comprised entirely of sarcastic asides, portentous gobbledygook ("The dawn of a new age will rise!" cries Isaac) and insider references that only the faithful will appreciate. Unless that’s you, it’s best to steer clear.
  25. Keanu
    It’s ironic, but Keanu might be a better movie if it was more like TV: 90 plotless minutes of Key and Peele just goofing around on the mean streets might’ve been something really special.
  26. The Man Who Knew Infinity
    Polite, earnest stuff, but it never quite adds up to much.
  27. The Family Fang
    The Family Fang goes deep into dysfunction, but even more impressively, it smuggles in the daredevilish art theories of the late Chris Burden and his ilk.
  28. Sworn Virgin
    The real-life setup is a knockout, both ancient and timely, and even though Rohrwacher never quite passes — she looks too much like Barbra Streisand’s "Yentl" — the movie is on to a larger point, namely about the fluidity of sexual identity and our universal penchant for self-reinvention. The film builds slowly but deserves an audience eager to discuss it.
  29. Elvis & Nixon
    There’s fascination in watching the always-intense Michael Shannon burrow into the singer’s interiority—he plays Elvis like a bored icon who’s outlived his usefulness. Spacey’s Nixon is a variation on his devious Frank Underwood, not in itself a bad thing.
  30. Criminal
    When great actors meet a misguided script, the results can be hilarious. And so it proves with Criminal, a nutso mash-up of The Bourne Identity and The Man with Two Brains which, despite a laughable plot and ridiculous dialogue, somehow managed to attract Kevin Costner to the lead role, with support from Ryan Reynolds, Tommy Lee Jones, new Wonder Woman Gal Gadot and even Gary Oldman (who really needs to have a word with his agent after this and Child 44).
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