Time Out New York's Scores

  • Movies
For 2,929 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 Mistress America
Lowest review score: 0 Vampires Suck
Score distribution:
2929 movie reviews
  1. A deep supporting cast brings its A-game to the ridiculous dialogue.
  2. The belly laughs do come, many of them courtesy of the mechanical bird companion.
  3. This antibullying advocacy group could not be more well-intentioned or needed, but suddenly, the sneaking suspicion that you've merely been watching an extended PSA for the grassroots organization starts to take hold.
    • 49 Metascore
    • 60 Critic Score
    Frightening statistics punctuate the film like death knells.
    • 70 Metascore
    • 60 Critic Score
    There's plenty here to recommend; so what if its explicitness and femcentric sexuality turn off some prudish viewers, dammit!
  4. 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.
  5. So why is this songwriter, so articulate on vinyl, so vague and spacey in current-day interviews? Something happened here, deeper than an aborted quest for fame, and the documentary hasn't gotten to it.
    • 72 Metascore
    • 60 Critic Score
    Providing the film’s foundation, Cromwell is adept at revealing emotional layers lurking under the surface of his flannel-clad old-timer.
  6. But you do take the film home with you - to all your own toys - and that's what decent horror is supposed to do.
  7. The uniformly showy performances (Acting with a capital ‘A’) are what do in Prisoners more than anything.
  8. It feels too flabby for the company it keeps.
  9. You could get whiplash watching this bipolar drama jerk between extremes: For every extraordinary scene - such as an authentically awkward exchange between Bosworth and estranged dad Thomas Haden Church - there's a sequence or three that might be extended collegiate acting exercises.
  10. About as deep as a kiddie pool, which isn't to say it's an unpleasant frolic.
  11. 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.
    • 48 Metascore
    • 60 Critic Score
    Interviews with real-life Gleeks contribute to the signature mix of schmaltz and earnestness one can expect from any Ryan Murphy vehicle, and there's nothing here that couldn't be accomplished in good old 2-D. Still, there's no need to stop believing.
  12. The result is less an ode to late-'60s California dreamin' than an NYC-hip riff on SoCal somnambulism, one that occasionally Pops with Warhol's mondo minimalism yet never snaps nor crackles. "Lonesome Cowboys" this is not, despite the fact that Surf uses virtually the same cast.
  13. When The Father of My Children shifts focus to Grégoire’s wife (Caselli) and children (the eldest is beautifully played by De Lencquesaing’s actual daughter, Alice), Hansen-Løve’s hand steadies, and she reveals a true talent for intimate, behavioral observation.
  14. The material isn’t excited or shaped toward any insight — the Mike Leigh of "Naked" did this sort of thing brilliantly — and the arrival of a sluggish investigating journalist (Richard Jenkins), himself a bar fixture and underachiever, doesn’t offer a valid counterpoint.
  15. The movie works-to the extent that it does-because of its sharply un-PC script (credited to Lee Eisenberg and Gene Stupnitsky) that sometimes feels like a Hollywood rewrite of "Election."
  16. It ain’t bad, though all that detritus detracts from a far more interesting history lesson on repression and rebellion that’s left on the periphery.
  17. Urushadze’s excellent cast imbues their thinly drawn characters with a great deal of life, but the roles are so transparent that the film feels like more of an advertisement for peace than it does an argument for it.
  18. Fortunately Coppola’s sensitivity is always evident, especially in the open-hearted performances she gets from Roberts and Kilmer (whose father, Val, has a funny, pot-addled cameo).
  19. Even the soundtrack is mostly on-the-nose jug-band hokum, except for one cue: a searing old-timey version of the Velvet Underground's "White Light/White Heat," courtesy of octogenarian bluegrass legend Ralph Stanley. If the rest of the movie had the same energy, spontaneity and soul, it would have been more potent than 190-proof hooch.
  20. Like fellow countryman Park Chan-wook's vengeful epics, this man-on-the-run thriller knows how to deliver a rush; unlike those superior tales of lives on the edge, that's the only trick up its sleeve.
  21. The boy-meets-girl, boy-loses-girl-and-turns-heartbreak-into-great-art plot is as hoary as they come, but Mariscal's eye-popping artwork and the evocation of a bygone musical era (Charlie Parker at the Village Vanguard, Tito Puente at the Palladium) are delirious.
  22. As scripted by Bryan Sipe, Demolition buries its lead actor under a rubble of clichés.
  23. Kids will squeal with delight. Adults will smile indulgently at the mildness of it all.
  24. Despite being as pathetically penile-obsessed as any postmillennial comedy, Goon prevails where other sports-film farces fail thanks to Scott's winning, unwinking performance; Liev Schreiber's spot-on turn as a wizened, clock-punching rink assassin; and a pucked-up love of a bloody game.
  25. You’ll learn that karaoke is an effective rehab tool; that their dad, Richard, the film’s real hero, molded his daughters into fierce competitors; and that Venus and Serena actually do love each other. Anyone looking for deeper insights than that or into what really makes this twosome tick will find themselves at a real disadvantage.
    • 66 Metascore
    • 60 Critic Score
    The film's depiction of [Clayman's] reality is rendered with cinematic brio and forceful clarity.

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