Time Out New York's Scores

  • Movies
For 2,676 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Close-Up
Lowest review score: 0 Vampires Suck
Score distribution:
2,676 movie reviews
  1. Bad Words soars in the bits of riotously offensive chitchat between Guy and a young Indian hopeful (Rohan Chand); it wobbles in plot developments involving the effortlessly starchy Allison Janney as the contest’s “queen bee”; and it splats in the I’m-secretly-hurting conclusion.
  2. If The Woodmans has something profound to say-and it does, unwittingly-it's that art can't raise a child solo.
  3. Whether this love letter is more preaching to the converted than a corrective is arguable.
  4. The jittery aesthetic is a bit grating - there's a three-cut minimum per roundhouse kick - but the spectacularly named Olivier Megaton (Transporter 3) still manages to deliver the action-film goods.
  5. If Pedro Almodóvar was hired to direct another "Sex and the City" film, it might end up like Cupcakes. The sort of movie that adjectives like frothy and bubbly were invented for.
  6. An illuminating profile but a sloppy snapshot of the immigrant experience.
  7. The film lurches through narrative incidents: Battle scenes, political intrigue and a ticking-time-bomb love triangle are all pitched at the level of mundane competence and rarely get the blood racing.
  8. There are riveting moments, especially in tastefully shot interviews with former captives, who quietly describe their physical and psychological torture.
  9. God bless their antics, but the Yes Men’s jestful jousting feels more like tilting at windmills
  10. Family members fight and reconcile over delicious-looking regional cuisine, new romantic possibilities present themselves, and Deneuve swans through all the heartstring-plucking silliness like the ethereal superstar she is. There are worse things in life.
  11. Only Julianne Moore, as the Bible-thumping mom, has an instinct to go softer — how couldn’t she, after Piper Laurie? — and paradoxically, it’s a move that feels wrong, the role requiring its cantatory bigness.
  12. The leads’ chemistry and a wonderful pulp weariness that feels straight out of, say, George Pelecanos’s novels makes up for a lot, yet despite the class-conscious genre pleasures, independent cinema’s foremost Zinn master feels slightly off his game.
    • 64 Metascore
    • 60 Critic Score
    Here, absurdity is piled on absurdity for broadly comic effect: The kidnappers seem aimless, Houellebecq is fairly unbothered, and the world is, presumably, unmoved. Scrappy in style and surely improvised, the film is a lightweight literary in-joke, amusing enough.
  13. You’re either awestruck, dumbstruck or just plain struck in the face.
  14. Once the sharp, clever satire gives way to what feels like a special must-see-TV episode, the movie’s promise slowly deflates.
    • 49 Metascore
    • 60 Critic Score
    The movie’s not especially urgent or inventive, but it has small moments of grace.
    • 57 Metascore
    • 60 Critic Score
    This stilted but oddly compelling Milwaukee-based throwback to Me Decade cheapies pays homage to the entire spectrum of '70s exploitation cinema, from the mucky Super-8 to the copious nudity.
  15. Wenders’s reverent enthusiasm for his subject is evident throughout the film, and he details every chapter of Salgado’s life with an acolyte’s inability to separate the wheat from the chaff.
  16. Prince Avalanche — Green has admitted that the unrelated title came to him in a dream — evaporates after a while, although it’s never less than quizzical and charming.
  17. Alexei Kaleina and Craig Macneill's proudly minimalist affair favors ambiguity over soap-operatics, evoking the inescapable heartache of a loss so great, it cannot be uttered.
  18. This may be terrifying news to Rob Zombie fans, but after years mining the 1970s for gunky shock moments, the musician-turned-filmmaker has emerged as an unusually sensitive director of actors.
  19. Fellag does for the film what his Lazhar does for the pupils: He's soothing and entrancingly enigmatic enough to keep us fixed to our seats.
  20. The movie will make you tap your toes; don't expect much for your head or your heartstrings.
  21. For a sci-fi indie of vast ambition but limited means, Coherence does a sterling job with coherence.
  22. Getting old's a bitch. But the long-in-the-tooth quintet (Chaplin, Fonda, Guy Bedos, Claude Rich and Pierre Richard) at the center of Stéphane Robelin's featherweight French comedy has it all figured out.
    • 52 Metascore
    • 60 Critic Score
    Keanu Reeves’s five-years-in-the-making directorial debut won’t dispel the notion that his acting range begins and ends with monotonous recitations of “whoa.” But this wuxia does establish him as a deft helmer of cinematic combat.
  23. Terrific performances and superb cinematography (by Claire Denis’s right hand, Agnès Godard) lift cowriter-director Ursula Meier’s feature debut above its thuddingly metaphorical premise.
    • 73 Metascore
    • 60 Critic Score
    It’s an absorbing, prickly tale, which Bhalla doesn’t tell as coherently as he could have — oddly fitting, considering this is a story about frustrated ambitions and unfulfilled potential.
  24. After the story takes a cloyingly sentimental turn, this lean-and-mean thriller becomes bathetically bloated. Just a few spokes short of a wheel, guys.
    • 67 Metascore
    • 60 Critic Score
    The documentary's technique of cutting between warm exchanges and the bellicose rhetoric of then-presidents Ahmadinejad and Bush wears thin with overuse, but the big-hearted Sheppard makes for an amiable tour guide.

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