Time Out New York's Scores

  • Movies
For 3,001 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: 57
Highest review score: 100 The Last Detail
Lowest review score: 0 Vampires Suck
Score distribution:
3001 movie reviews
  1. John Travolta breaks the braggadocio meter in the latest tightly wound actioner from "Taken’s" Pierre Morel.
  2. Here's the thing: We enjoy a good mindf--- lark as much as the next filmgoer, but such fluid tomfoolery eventually has to add up to something, and The Double Hour ultimately doesn't.
  3. Yet it still works like gangbusters - tears will be stifled by the end of the sibling vs. sibling finale - and most of the credit should go to Hardy, Nolte and Edgerton.
  4. This one belongs to the women: As a gold-digging mistress, Isla Fisher does half-smart expertly, while Jennifer Aniston demonstrates her underrated timing as a wealthy kidnapping victim turned confidante.
  5. But take the puppet off his arm and he seems somehow vague and incomplete, like the Wizard of Oz without his curtain.
  6. Still, the problem that often fells these documentaries - humorlessness - has been licked: Jack Black makes an exuberant cameo pitching recycled toilet water (his fake brand is called Porcelain Springs). Sound gross? Open wide, because it's on the menu for all of us.
  7. These scenes make you wish the rest of the movie had similar bite, but Gibney tends toward that dutiful doc style that mixes talking heads and archival clips into a flavorless stew—a bland complement to Fela’s zesty on- and offstage presence.
  8. Thankfully, the 3-D is surprisingly well-used, not just for arterial spray but to accentuate the constraints of the mega-bland, housing-bubble architecture of the characters' neighborhood. That anonymity is the real horror show.
  9. You don’t often see style this gorgeous (however empty), and that must count for something. Groovy soundtrack cues by Ennio Morricone and others do the heavy lifting.
    • 57 Metascore
    • 60 Critic Score
    Despite the sparkling cast and engaging, well-tuned turns from Chastain and McAvoy, the scaled-down script doesn’t carry much weight, bogged down by clunky, Hallmark dialogue.
  10. A Euro gloss on "Pretty Woman" suddenly turns into "Occupy Gaul."
    • tbd Metascore
    • 60 Critic Score
    Though the movie is a testimony to one man's will to survive and a testament to a vanishing art form, Tibet in Song's greatest achievement may be the way it shows how China recast traditional songs as modern pro-Communist propaganda-an eradication of an invaded country's culture through insidious co-option.
  11. The film definitely gets it up, but has some commitment issues.
  12. This is another dinner conversation that races and lingers, making you want to do more with your own life.
  13. Barreling toward its rapidly modernizing future, China takes Internet addiction more seriously than most nations: To watch Web Junkie, an often scary yet half-realized documentary, is to see a society trapped in its old solutions.
  14. All of this is fascinating in the moment, yet the doc never yokes all these threads into anything particularly deep or illuminating. The Galapagos Affair is less social commentary, more gossip.
  15. It's only during the last third that the film finds its footing, as the PTSD fallout and collective sense of disillusionment suggest a bigger picture regarding why we fight, etc. Otherwise, this decent, if decidedly personal, look at small-town soldiers works better as an erratic scrapbook than a representative statement.
  16. We like our secondhand vengeance as sleazy and bloody as the next grindhouse fiend, but even an intentional throwback shouldn’t feel content to coast on so much déjà vu.
  17. Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.
  18. When it comes to scenes in which characters are asked to say more than two words, however, the filmmaker's a decided amateur; Moretz, in particular, seems hopelessly stranded as the attitudinal wild child.
  19. Some moments are so deliciously shivery-our heroes' breath condensing in the air like in John Carpenter's "The Thing"-that you wish the film were naughtier and less nice.
  20. Working from autobiographical material, Sebastián Silva does wonders with these two dedicated performances — the ice king and the earth goddess, both of them neurotically detached from their sunny surroundings.
  21. Until the movie's cathartic showdown (and a few backstory revelations that impress too late), The Drop putters along in a dozy register, less a simmering pot than a cooling one.
  22. The Horse Boy comes off as both an edifying work of advocacy and an invasive home movie.
    • 46 Metascore
    • 60 Critic Score
    For a drama pretty much aimed at 12-year-old girls, it’s less superficial than you’d expect.
  23. It helps that Milo (Hader) and Maggie (Wiig) are cranky adult siblings, sharing a whip-crack shorthand that longtime skit partners know how to muster effortlessly.
  24. The meal here is mainly nostalgia, larded with a thick sauce of irony.
  25. Joe
    Yet Green, as is his wont, too often strains for poetic effect through flowery voiceover and tone-deaf interactions — like those between Joe and his latest short-term girlfriend — that undercut the genuineness.
  26. The longer the film goes on, the more it seems like a collection of gorgeous images without an overall organizing structure. Our youthful lead’s slow disillusionment with his complicated surroundings ultimately plays less profound than petulant.
    • 66 Metascore
    • 60 Critic Score
    The film delivers on its most crucial idea by being an inventive relationship dramedy with actors who handle the dual challenge thrown at them with distinguished poise.

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