Time Out New York's Scores

  • Movies
For 2,700 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% 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 Russian Ark
Lowest review score: 0 Vampires Suck
Score distribution:
2,700 movie reviews
  1. Zippy and saturated with soft-core nudity, The Look of Love isn’t hard to watch, especially when statuesque Tamsin Egerton enters the picture as a redheaded dancer who captures Raymond’s heart.
    • 45 Metascore
    • 60 Critic Score
    Ditching the mock-doc aesthetic is a bold formal move, but without its immediacy and realism, [REC] 3: Genesis becomes just another walking-dead movie-and clocking in at a mere 80 minutes, one with no time for character development.
  2. Night Catches Us surges awkwardly in its latter third, suddenly aware that a promising setup isn't enough. Regardless, here is an honorable attempt to address a complex chapter of African-American pride, one that's usually hidden under hairdos and wah-wah pedals.
  3. The sense of old-school piety as lust under inhuman pressure is juicy and polished, if a little earnest about spiritual conflict and too entranced with its LOTR-ish medieval trappings. In fact, as monksploitation goes, Dominik Moll’s film is sober and straight when it should be crazy and hot-blooded.
  4. The major change is that the domestic, Eun-yi (the great Jeon, star of "Secret Sunshine"), is now more of a victim than an aggressor.
    • 72 Metascore
    • 60 Critic Score
    A breezily entertaining profile of painter, puppeteer and performer Wayne White, Beauty Is Embarrassing places the kindhearted, foulmouthed subject front and center.
  5. Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
  6. The performances, especially from the bed partners, are complex; even if you weren’t wanting for an exposé of adult-entertainment violence, here it is.
    • 40 Metascore
    • 60 Critic Score
    Fans will love the funny and subversive moments; anyone who didn't "get" them premakeover may simply feel like they've been sitting in a "brown bath" for 93 minutes. Don't ask.
  7. All the way back to "Donnie Darko," Jake Gyllenhaal has had an inchoate sense of evolution about him, a tricky quality that better actors can’t pull off half as well. So it’s hard to say if splitting the star into two doppelgängers — Adam, a mousy college professor, and Anthony, a rising actor with a healthy ego — is the best dramatic plan.
  8. So even though the science fair was something your other classmates did while you mastered Pitfall!, the sights in Whiz Kids will no doubt stir you.
  9. Gould is as much of a mystery at the end as at the beginning. You get the feeling that's the way he'd have wanted it.
  10. What ran more than three hours onstage now barely cracks two, and the cutting can be felt in the way the often gut-busting bad behavior is privileged over psychological credibility.
  11. 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.
  12. If The Woodmans has something profound to say-and it does, unwittingly-it's that art can't raise a child solo.
  13. Whether this love letter is more preaching to the converted than a corrective is arguable.
  14. 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.
  15. 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.
  16. An illuminating profile but a sloppy snapshot of the immigrant experience.
  17. 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.
  18. There are riveting moments, especially in tastefully shot interviews with former captives, who quietly describe their physical and psychological torture.
  19. God bless their antics, but the Yes Men’s jestful jousting feels more like tilting at windmills
  20. 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.
  21. 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.
  22. 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.
  23. You’re either awestruck, dumbstruck or just plain struck in the face.
  24. 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.

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