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. Simon Killer
    Even at its most affecting, Simon Killer rarely seems like more than a cinema-du-Gaspar-Noé simulacrum. The languorous long-takes, dissociative sound design and strobe-light scene transitions meant to mirror this emotional con artist’s skewed view of the world are anxiety-of-influence hand-me-downs through and through—viscera without vision.
  2. Trance
    The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.
  3. Upstream Color
    No one is going to explain any of this for you — and the slightly snobby implication of Upstream Color is that explanations are for suckers.
  4. G.I. Joe: Retaliation
    Plays like a tiresomely extended evening of channel surfing.
    • 26 Metascore
    • 20 Critic Score
    Tyler Perry's Temptation
    That sort of fire-and-brimstone morality dominates this one-note sermon, which pairs its pedantic preaching with the campiness of Vanessa Williams speaking in an absurd French accent and Kim Kardashian as the protagonist’s bitchy fashionista coworker, vainly trying to act.
  6. Renoir
    At least Mark Ping Bing Lee’s luscious cinematography distracts from the shallow storytelling. There are worse things than luxuriating in a two-hour Côte d’Azur travel ad.
  7. The Croods
    Aside from a few witty Looney Tunes–esque sight gags, such as one hilarious image of a woolly mammoth being swallowed up by the tectonically shifting earth, the stereoscopic visuals are a busy, personality-free digital blur.
  8. Somebody Up There Likes Me
    The time-killing universe Byington has created makes sure we never forget how absurd he thinks the whole movie is. Fun for him, perhaps.
    • 42 Metascore
    • 40 Critic Score
    Mental
    Once a scarred shark hunter (Liev Schreiber) enters the fray, the film’s tone shifts from madcap to maudlin, and the narrative from being merely grating to actually galling. Artistic inspiration can be close to madness, but Mental is just plain nuts.
  10. Violeta Went to Heaven
    A rare Chilean film that doesn’t mention either the Allende or Pinochet regimes, Violeta Went to Heaven is a love letter to a lost 20th-century goddess. It’s hard to resist her.
  11. Dog Pound
    Dog Pound only rarely finds the live-wire energy needed to make up for its amateur cast and staunch adherence to well-worn archetypes: cell-block bullies, sadistic guards, fresh-fish innocents, etc. Neither the film’s bark nor its bite leaves much of a mark.
    • 49 Metascore
    • 40 Critic Score
    Welcome to the Punch
    Favoring style over substance isn’t a mortal sin, but Creevy isn’t as enthrallingly slick as compatriot Guy Ritchie, nor does he have anything like the "Lock, Stock and Two Smoking Barrels" auteur’s feel for Britain’s criminal class.
  13. Wrong
    Weird for weirdness’s sake gets you only so far, however, and when Dupieux tries to connect all these strange goings-on to Dolph’s corporate-drone despondency, the movie takes a spurious turn toward rancid sentimentality. It seems that even a piece of dog excrement has feelings. Yuck.
  14. The Place Beyond the Pines
    Yet after the actorcentric fireworks of Cianfrance’s "Blue Valentine" (2010), it’s impressive to see him going after a wider sociopolitical scope, one that would have been better served by a less repetitive structure.
  15. The Host
    An "Invasion of the Body Snatchers" retread told from a postoccupation vantage point, this adaptation of Stephenie Meyer’s YA romance novel unfolds in a dystopian future when alien parasites have nearly won the battle for Earth.
    • 66 Metascore
    • 80 Critic Score
    The Revolutionary Optimists
    It’s truly something to see these children come into their own, and to bear witness to the undeniable sea change Ganguly has set in motion.
  17. Room 237
    Room 237 asks that you bring your own noodles; as docs go, it leaves you with questions, some worry and rib-sticking satiation.
  18. Blancanieves
    Expressively (Berger knows his grammar), a white communion dress is dipped in black dye as her custodial grandmother passes away and an evil castle beckons.
  19. Olympus Has Fallen
    A deep supporting cast brings its A-game to the ridiculous dialogue.
  20. Le Pont du Nord
    There are few artists better than Rivette at uncovering the magical (even at its most menacing) in the everyday.
    • 67 Metascore
    • 40 Critic Score
    The Sapphires
    The Sapphires might pass muster as escapist fluff, but its pretensions of significance go woefully awry.
    • 49 Metascore
    • 40 Critic Score
    Everybody Has a Plan
    The artist formerly known as Aragorn remains an engrossing screen presence, but this campy thriller is a tad too close to simply having him sing the telephone directory.
  23. New World
    New World dishes out enough of the genre’s oldest pleasures to make it worthwhile.
    • 49 Metascore
    • 60 Critic Score
    Starbuck
    What could have been one long, smutty joke ends up turning into a moving slice of midlife.
  25. Come Out and Play
    This remake of ’70s Spanish horror film "Who Can Kill a Child?" is less a contemporary upgrade than an eagerly creaky exploitative throwback.
    • 28 Metascore
    • 40 Critic Score
    Love and Honor
    It’s a lightweight drama filled with heavyweight war-is-hell monologues, delivered by a cast that lacks the gravity to sell them.
  27. My Brother the Devil
    Even those who aren’t well-versed in the-’hood-always-wins dramas can see what’s coming. So it’s to newcomer Sally El Hosaini’s credit that she embeds a tangible, lived-in sense of the region’s diaspora community and urban criminal underbelly (wagwan, near-indecipherable East End patois!) that’s leagues away from anthropological fetishizing.
    • 46 Metascore
    • 40 Critic Score
    Hunky Dory
    When it’s indulging in glammed-up musical sequences, Hunky Dory comes to life; everything else couldn’t seem less inspiring.
  29. Eden
    What begins as gritty realism ends up as the usual made-for-cable melodramatics—an apple that’s always better left unbitten.
  30. Admission
    Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.
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