Time Out New York's Scores

  • Movies
For 2,946 reviews, this publication has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Gone Girl
Lowest review score: 0 Vampires Suck
Score distribution:
2946 movie reviews
  1. The public appetite for high-school high jinks may be limitless, but the pretentious camerawork and empty ideas of this feature-length mope yield little pleasure or insight.
  2. A mess of arrhythmic editing, mopey first-person inserts and distractingly choppy narration, all making a heady topic that much more difficult to follow. To focus or not to focus should have been the first question.
    • 38 Metascore
    • 20 Critic Score
    All of this touching and feeling makes I Am a so-awful-it's-mesmerizing mash-up of Hollywood entitlement and earnest goodwill. There's no questioning Shadyac's googly-eyed sincerity, but the film has all the depth of a late-night dorm-room exchange.
    • 44 Metascore
    • 20 Critic Score
    This is the sort of cut-rate cinematic Cheez Whiz that gives religious horror movies a bad name. Still, at least it's not "The Last Airbender."
  3. As sick-making sketch comedies go, this stupefyingly bad one-somehow rife with A-list talent-must rank near the very bottom.
  4. So bland it's easy to forget the title only minutes after exiting, this Emmerich-by-numbers invasion movie exists only to offer you the cutting edge in unconvincing special effects.
  5. Lamely tries to update "Breakfast at Tiffany’s" for the Twitter set. Too bad Truman Capote’s not around for rewrites.
  6. The smidgen of dramatic color offered by Jennifer Lopez, as a divorced real-estate broker drawn into Parker's payback scheme, is offset by her character's shocking naïveté, shedding her clothes on command (as if she still couldn't hide a wire somewhere) and falling unconvincingly for Statham's featureless cipher.
  7. Only Gaby Hoffmann makes a lasting impression, as the thick-skinned pariah of the bunch. Somehow she’s able to give the ring of truth to even the hoariest of Hennelly and cowriter Sarah Adina Smith’s conceits (notably a rally-the-troops speech cribbed from founding father George Washington). The rest makes you long for Armageddon.
  8. No stranger to one-joke premises, writer-director Tommy Wirkola (of 2009's Nazi-zombie "classic" "Dead Snow") populates this frenzied horror-satire with tons of incoherently staged bloodletting and f-bomb–accentuated kiss-off lines. It's a grim fairy tale, all right.
  9. By the time The Son of No One reaches its wanna-be-tragic finale, you'd like nothing more than to kick this bastard child to the curb.
  10. Im could care less about these people as characters, presenting them as either obscenely hot or repellently decaying bundles of flesh.
  11. Why anyone would want to spend time with a foursome whose bathetic misery is, like the overly mannered visuals of writer-director Dennis Lee (Fireflies in the Garden), defined by such insufferable quirkiness is anyone's guess.
  12. Blending CGI and live action, this “squeakquel” to the witless 2007 kids’ film proves just how dangerous such technology is when placed in the wrong hands.
    • 28 Metascore
    • 20 Critic Score
    The film is a string of dawdling sitcom scenarios and saccharine messages, cobbled together with star wipes pulled straight out of a Walmart commercial.
  13. It's the wooden plotting and cornball sentimentality--and, most unpleasant of all, the full-frontal nudity of Jamie Kennedy--that truly make this AVN-themed fairy tale, ahem, hard to swallow
  14. Sure, the footwork is flawless in this 3-D rendering of Michael Flatley's high-kicking show; it's the filmmaking that's dull.
  15. The funny thing about all these sub-"Matrix" shenanigans is that they’re genuinely meant to stoke thought and reflection. Frankly, though, few movies have left me feeling as shorn of gray matter.
  16. Never do you sense an overriding intelligence; Cortés once found laughs and shocks within the coffin-confined Buried, but here's he's got too much room to wander into realms of the ridiculous.
  17. 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.
    • 26 Metascore
    • 20 Critic Score
    Only one gag (involving a town’s rival barbers) sticks; the rest is just whistlin’ Dixie.
  18. Jones may be a charismatic comedian, but no amount of her skilled mugging, Britpop tunes or help from supporting stars (Brooke Shields, Bill Nighy) can transform this derivative ugly duckling into a comic Anglophile swan.
  19. By the end of Pray’s skin-deep love letter, only one sweeping reaction seems appropriate: “A pox on all your houses.”
  20. The whole movie aches from tired blood.
    • 45 Metascore
    • 20 Critic Score
    Epitomizing the shrill franchise's schizophrenic tonal shifts, Madea metes out Christian life lessons with one hand-and righteously bitch-slaps with the other.
  21. Then observe as all but the hard-core Colferphiles slink out embarrassed, feeling as confused and discombobulated as if they too just took an electric bolt to the brain.
  22. What really hurts is seeing Jamie Travis's name attached; for those of us who love his extraordinary "Patterns" trilogy, watching the talented Toronto filmmaker add his characterically kitschy touch to such a witless, faux-edgy movie can only be described as a Travis-ty.
  23. Flirty bickering is rampant but, courtesy of Heigl's inert performance, there's no heat or humor to the proceedings, just an avalanche of grating big-hair-and-bad-accent New Joisey caricatures.
    • 44 Metascore
    • 20 Critic Score
    Recent newspaper coverage will provide more context, and will take up 80 fewer minutes of your time.
  24. A completely incoherent mess.

Top Trailers