Time Out's Scores

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For 6,419 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: 2,500 out of 6419
  2. Mixed: 3,444 out of 6419
  3. Negative: 475 out of 6419
6419 movie reviews
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  1. Prisoners
    The uniformly showy performances (Acting with a capital ‘A’) are what do in Prisoners more than anything.
  2. The Family
    Director Luc Besson treats his protagonists as likable cartoons yet never provides a single reason to view them as anything less than remorseless, repugnant psychos.
    • 40 Metascore
    • 40 Critic Score
    Insidious: Chapter 2
    Even before Wilson goes full Jack Torrance and Barbara Hershey shows up to investigate an abandoned hospital Scooby-Doo-style, one could technically call this sequel a gorefest—thanks to the guts of every other horror movie being splattered across the screen.
  4. The Last Time I Saw Macao
    The effort is commendable and the complicated emotions of the piece (for a place and a people) come through loud and clear. To paraphrase the great Ms. Russell, the movie has the power to make you laugh and the power to break your heart in half.
  5. Mother of George
    Working from a script by playwright Darci Picoult, Dosunmu fashions a tale that’s realistic, melodramatic and culturally specific (we spend as much time ogling colorfully patterned dresses as we do admiring Gurira’s endlessly expressive face), yet unmistakably archetypal.
  6. Wadjda
    An Arabic-German coproduction, it is a rare movie shot entirely in Saudi Arabia, which has no cinema industry to speak of, and the first feature by a female filmmaker from that country. Forbidden from mixing with the men in her crew, Al-Mansour often directed via walkie-talkie from the back of a van.
  7. Blue Caprice
    Blue Caprice is probably what more post-9/11 cinema should have been: desperate for explanations, inchoate and wrapped in unspoken loneliness. Even though we can stomach it better a decade later, we’re still not healed.
    • 48 Metascore
    • 40 Critic Score
    Jayne Mansfield's Car
    There’s ambition here, but little in the way of insight or genuine feeling — just a heavy-handed thesis and some extraneous Southern eccentricity.
  9. Harry Dean Stanton: Partly Fiction
    You still leave impressed at the way Stanton fiercely protects the aura of mystery that makes him such an indelible onscreen presence.
  10. Informant
    This shadowy film may ooze with espionage enigma, but Darby’s real-life role finds him casting himself as a crusader; he’s like a hipster Zelig, lost among media appearances, evasive social principle and TV-propagated naïveté.
  11. Good Ol' Freda
    White’s revelation-free, nostalgia massage of a film works the archivals with genuine fondness.
    • 49 Metascore
    • 40 Critic Score
    GMO OMG
    Why anyone would think that home movies of the director and his kids belong in a social-issues doc is a truly WTF question.
    • 51 Metascore
    • 40 Critic Score
    Mademoiselle C
    This is merely a vanity project that shamelessly plugs Roitfeld’s new stateside brand.
    • 65 Metascore
    • 60 Critic Score
    Herb & Dorothy 50X50
    The tangential artist interviews and constant lionizing of the star couple meander, but given how museums between the coasts rely on collectors for life support, 50x50 still acts as a provocative call to arms: Those who love art must support it.
    • 48 Metascore
    • 40 Critic Score
    And While We Were Here
    We see a storybook landscape enchant the pair, but we never feel it.
  16. Riddick
    Watching this see-in-the-dark muscleman brooding against gorgeous otherworldly vistas, all while crafting pointy homemade weapons and befriending a scene-stealing CGI canine (no joke), is a sci-fi aficionado's delight.
    • 71 Metascore
    • 40 Critic Score
    I Am Breathing
    Emma Davie and Morag McKinnon’s doc walks the line between a deathwatch film and an uplifting one, rather than simply rubbing the viewer’s nose in the horror of mortality.
    • 30 Metascore
    • 40 Critic Score
    American Milkshake
    Teenagers are jerks (it’s a scientific fact) but if you have one as your protagonist, they need a redeeming quality or two.
  19. La Maison de la Radio
    Given only hints of personalities and the thinnest strands of stories, we’re left with a hum of tinny snippets instead of anything that resembles the glorious noise of people putting on show after show after show.
  20. Il Futuro
    It’s wonderful to think that a movie is, for a change, ahead of you.
    • 68 Metascore
    • 60 Critic Score
    Fire in the Blood
    The film strikes the right balance of outrage, hopefulness and despair, compellingly arguing the case that a profit-driven, racially motivated collusion exists between Big Pharma and the U.S. government.
    • 37 Metascore
    • 40 Critic Score
    Winnie Mandela
    This twist doesn’t so much probe the situation’s ambiguities as reflect the filmmaker’s uncertainty about how to properly portray a major historical figure in all her troubling complexity.
  23. 99%: The Occupy Wall Street Collaborative Film
    Until someone delivers the definitive 360-degree chronicle on the populist uprising, this collection of dispatches from the front is the best primer you could hope for.
  24. Red Obsession
    Photographed with an alluring sheen that complements the coldly commercial wheelings and dealings of its subjects, Red Obsession fascinatingly reveals how Old World vintner artistry is being shaken up by New World supply and demand.
  25. A Teacher
    Less a master class in inappropriate high-school relationships than the CliffsNotes version, A Teacher isn’t going to tell you anything Nabokov or "Election" didn’t.
  26. Populaire
    If anything distinguishes director Régis Roinsard’s take on well-trod material, it’s his Technicolor-bright widescreen palette (recalling many a late-’50s pillow-talk romance without a hint of snooty irony) and energetically game cast.
    • 55 Metascore
    • 60 Critic Score
    Touchy Feely
    wWen the filmmaker lines up her characters to confront their respective fears of intimacy, the loosey-goosey vibe clashes with the script’s clunky machinations; like her characters, Shelton doesn’t know what to do when things actually happen.
  28. Salinger
    Though there’s no shortage of biographies on the notoriously private writer, no one has had the stones to try making a comprehensive visual documentary on someone as camera-aversive as the Catcher in the Rye author. The effort itself should be applauded.
  29. Adore
    You can barely stifle a laugh, and the way Wright and Watts deliver rote, morally searching dialogue with deer-in-the-headlights stoicism (“We’ve crossed a line,” Lil blankly notes) doesn’t help matters.
    • 49 Metascore
    • 60 Critic Score
    One Direction: This Is Us
    It may be just an hour-and-a-half commercial for the new single, “Best Song Ever,” and a victory lap following a successful arena tour, but credit where it’s due: This behind-the-scenes look at the English-Irish boy band du jour captures the group’s unpretentious stage show and regular-joe nature in all their glory.
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