Time Out New York's Scores

  • Movies
For 2,601 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Celine and Julie Go Boating (1974)
Lowest review score: 0 Vampires Suck
Score distribution:
2,601 movie reviews
  1. It almost becomes comical to count the number of "who's holding the camera now?" reverse shots that the filmmaker haphazardly inserts to propel the story forward. Such visual ineptitude, like much else in this tediously cocky enterprise, is downright criminal.
  2. You can feel Chbosky's blood, sweat and tears oozing out of this highly personal project, but that holy trinity of fluids isn't enough to wash away the sense that you've seen this before - many, many, many times.
    • 54 Metascore
    • 40 Critic Score
    This is strictly an amateur-hour affair.
  3. Viewers who can't get enough of ESPN's "30 for 30" docs will lap up this dual portrait.
  4. The lesson here, apparently, is that driven women just need to lighten up and stop being selfish - a message that really does feel backward.
  5. So why does this animated kids' film fail to come together? Bursts of manic pacing steamroll over most of the wit, a little of Sandler's thick-accent shtick goes a looong way, and by the time the requisite life lessons about letting your offspring leave the nest get rolled out, the undead-on-arrival jokes are outnumbered by anemic sitcom gags.
  6. In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.
  7. The problem is that the filmmaker brings D-grade craft to these B-movie exertions, making his florid maximalism more entertaining to talk about than endure - despite the best efforts of his ardently slumming A-list cast.
  8. It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
  9. If its juxtaposition of bad behavior and dairy products leaves you stone-faced or wearily sighing, you should exit the theater posthaste.
  10. The novelty of their industry aside, there's little to differentiate this from any other relationship-centered Amerindie.
  11. Lovers of the TV biker drama may find pleasure in the duo's surreal scenes together, but everyone else will likely view this story about a writer (Hunnam), his film-obsessed drug-addict brother (Chris O'Dowd) and a viral amateur-porn movie as one limp farce.
  12. You never lose the nagging sense that you're simply watching a high-school drama club's production of '40s fatalism chic.
    • 51 Metascore
    • 40 Critic Score
    For a film about sexual conquest, Nobody Walks is a frustratingly flaccid affair.
    • 31 Metascore
    • 40 Critic Score
    Eventually, the self-regarding acting clan admits they're only human after all. By then, the audience may want to disown them.
    • 83 Metascore
    • 40 Critic Score
    The Flat details his efforts to understand this unusual situation, and although the film suggests that his relatives may have maintained this odd friendship as a denial of their homeland's betrayals, there's only so deep Goldfinger can dig.
  13. Huppert fans have long been tolerant of her hit-and-miss filmography, and while her double act with the rubber-faced Poelvoorde provides a few well-played scenes-two words: horsey rides-it's not enough to liven up a trite story of loosening up.
    • 52 Metascore
    • 40 Critic Score
    If director Stephen Fung's frenetic visual style is the Red Bull in this cinematic cocktail, then the dozy plotting is the vodka - leaving you feeling momentarily excited but ultimately narcotized.
  14. This is little more than an episode of VH1's Classic Albums writ large. You'll learn everything you ever wanted to know about the making of this chart-topping behemoth - except for insights about the man in the mirror who created it.
  15. Apart from a hi-def night-vision gimmick, returning directors Henry Joost and Ariel Schulman don't take advantage of either upgrade.
  16. For all of Cloud Atlas's pseudorevolutionary blather about upending the "natural order," the execution couldn't be squarer.
  17. Coyle's got charisma to spare - imagine a hard-man version of Andy Serkis - but even his screen presence eventually gets smothered by the film's cartoonish version of ethnic gangsters, macho caricatures and bruised-heart-of-gold hookers. The phrase accept no substitutes has rarely seemed so applicable.
  18. Such a feature-length bludgeoning, even in the service of basic social and scientific literacy, is truly discomfiting.
    • 37 Metascore
    • 40 Critic Score
    The Black Tulip is noteworthy for its existence alone - and not, unfortunately, for much else.
  19. This Nickelodeon production may be designed for short attention spans, but must the characters have them as well?
  20. Vamps is commendable, even moving, as a raw-nerve confession of anachronism - but it's also what keeps this strained satire from drawing any real blood.
    • 56 Metascore
    • 40 Critic Score
    If only writer-director Jacob Aaron Estes had bothered to dig a little bit deeper than those damn raccoons did.
  21. A coda shifts to video footage of Cleese's irreverent eulogy; you wish the whole film could have been as slyly somber. It's what the colonel would have insisted upon.
    • 45 Metascore
    • 40 Critic Score
    The story of a young woman (Juno Temple) discovering that she is both a lesbian and a werewolf, Bradley Rust Gray's oddball horror parable starts with an irresistibly trashy premise and proceeds to treat it with the po-faced pretentiousness of a film-school thesis.
    • 51 Metascore
    • 40 Critic Score
    Neither totally impartial nor a puff piece, Varon Bonicos's documentary on fashion icon Ozwald Boateng nonetheless evinces a minimal amount of interest in digging into what makes its subject tick.

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