Time Out New York's Scores

  • Movies
For 3,015 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% 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: 57
Highest review score: 100 The Headless Woman
Lowest review score: 0 Vampires Suck
Score distribution:
3015 movie reviews
  1. While Stephenson and Brewster’s big-picture attempt to tackle a sociopolitical issue from the most personal of perspectives lacks the state-of-the-nation impact of that landmark doc, it doesn’t mean you won’t feel the pleasure of these kids’ triumphs, the pain of their tragedies or the pressures of ambition, affecting parents as much as students.
  2. The more that fright-flick conventions take over, the more the movie's recognizable and resonant human fears are dulled.
  3. The question lingers as the movie comes to its triumphant body-swapping close: Is this a pro-environment parable or a prophecy of virtual realities yet to come? Cameron's new world may very well be a verdant Matrix.
  4. You sense the Demme-esque working-class comedy that might have been.
    • 40 Metascore
    • 60 Critic Score
    Although Fessenden does fine work shooting his equivalent of Lifeboat, the movie’s surface is often rough. Yet the title doesn’t just refer to what lurks in the lake’s still water. It’s a guide to where Beneath’s substance lies, the acid heart inside its plastic chest.
  5. Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
  6. Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest.
  7. 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.
  8. 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.
  9. There's lots of volume in these tunes--the soundtrack is killer--and at least everyone gets their rocks off.
    • 68 Metascore
    • 60 Critic Score
    The question posed by the title of Matthew Cooke’s documentary seems to have a simple answer: Sell drugs. Lots of them. But this dope dealers’ DIY manifesto isn’t quite the illustrated instruction manual it sardonically promises to be, as Cooke talks to many a former pusher, from legendary kingpin “Freeway” Rick Ross to small-timer 50 Cent.
  10. The extreme variance of style and scrutability makes for wildly disorienting viewing.
  11. The scenes of the film’s exuberant, frizzy-haired protagonist wandering Naples and revisiting old haunts, however, seem much more unfocused—a ramshackle search for insights into the man’s art and life that rarely come. The instruments are in tune, but the rhythm is off.
  12. Unfortunately for us, Dern — only seen in flashback — isn’t the main character.
    • 76 Metascore
    • 60 Critic Score
    The first-person recollections of Nanking’s survivors are as uncommonly wrenching as their captors were brutally thorough.
  13. Hopper keeps things light and off-the-cuff, allowing his performers free rein - sometimes too much, as in the case of the screechy and shrill Farrell - to explore grim territory without falling into heavy-handedness.
  14. Swaddled with a lacquer of nostalgia that passes for cultural insight, this one-night-in-sweatpants drama will make you yearn for a moratorium on teen movies-at least ones so aggressively dewy-eyed.
  15. Clangorous and nonsensical, the fifth installment of the toys-to-world-saviors franchise still has a spark of grandeur that could only come from one director.
  16. No exchanges flare into true weirdness; rather, the mood is lingering and tentative. Undoubtedly, this is the movie's intent, but it's a fairly banal comment on foreign estrangement (or love) that could have used some roughing up.
    • 49 Metascore
    • 60 Critic Score
    What could have been one long, smutty joke ends up turning into a moving slice of midlife.
  17. 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.
    • 55 Metascore
    • 60 Critic Score
    Hicks is undoubtedly missed, but this attempt to commune with this social critic's spirit falls frustratingly short of his brilliance.
    • 70 Metascore
    • 60 Critic Score
    I Am Divine shows how the future John Waters muse transformed from an isolated, weird kid into an over-the-top, proudly freakish star who influenced everything from the aesthetics of first-wave punk to the performance style of today’s drag queens.
  18. What keeps you watching is the charisma of the performers: Hamm does an amiable riff on his Don Draper persona (he’s cynical before the big melt), Lake Bell is a delight as his tart-tongued love interest, and Sharma and Mittal are all charm as the cultures-uniting underdogs.
  19. Sweet but unambitious comedy.
  20. With both hostility and compassion, the damaged duo slowly come to understand themselves and their respective pain-a familiar path that's energized by subtle lead performances, a tactile sense of place and surprising insight into the way people connect as they help each other heal.
    • 60 Metascore
    • 60 Critic Score
    The best moments in filmmaker Rebecca Thomas’s debut feature manage flashes of wide-eyed grace — that is, when the overly precious, half-formed story isn’t undermining her understated direction and the work of a fine cast.
  21. New World dishes out enough of the genre’s oldest pleasures to make it worthwhile.
  22. It all comes down to the Big Birthday Party and a furious bike ride, which he's clearly done before, in "The 40 Year Old Virgin."
    • 58 Metascore
    • 60 Critic Score
    Storm’s remarkable poignancy is made all the more palpable by its restraint.

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