Time Out New York's Scores

  • Movies
For 3,015 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% 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 Bernie
Lowest review score: 0 Vampires Suck
Score distribution:
3015 movie reviews
  1. Unfortunately, a new problem rears its head: It seems no young audience member can be trusted to enjoy a thoughtful story without a heroic, borderline-obnoxious surrogate (here, he's voiced by Zac Efron) zooming around on a scooter, bonking villainous heads and saving the day.
    • 75 Metascore
    • 60 Critic Score
    For all the alleged ethical complexity in this thriller’s noirish narrative, everything’s a little too neat here.
    • 37 Metascore
    • 60 Critic Score
    The problem, however, lies squarely with Portman herself, who (Oscar nod or no) seems unlikely to ever achieve a tone between histrionic and affectless.
    • 69 Metascore
    • 60 Critic Score
    The results are, cinematically speaking, a little diffuse, but any parent who's contemplating whether they should sign their kids up for Pop Warner this fall may want to watch this first.
  2. A middling entry in the growing genre of tragic, never-quite-made-it rocker docs, this doesn't have a bona fide genius at its core (The Devil and Daniel Johnston), nor a compelling clash of Spinal Tap–ready egos (Anvil! The Story of Anvil).
    • 56 Metascore
    • 60 Critic Score
    Polite, earnest stuff, but it never quite adds up to much.
    • 44 Metascore
    • 60 Critic Score
    A mess-but a beautiful one, crammed with enough big ideas and outsize performances for three movies.
  3. Both Baetens and Heldenbergh do their best to sell the story’s ups and downs even when the narrative gets bogged down with science-versus-religion ranting, yet you’re still left with a movie a little too reliant on playing clawhammer on your heartstrings.
  4. This being a François Ozon film, there's beaucoup simmering sexual tension, as well as the prolific French director's usual thematic preoccupations: death and grief, familial animosity and female awakening.
  5. The difference between a movie about emptiness and an empty movie becomes abundantly clear.
  6. It's best to just let the silly-to-spectacular set pieces fly by you and-tastes permitting-enjoy the Karo Syrupped ridiculousness on display.
  7. The backbeat anarchy is fun while it lasts, but without a persuasive purpose, it's all just noise in the end.
  8. A manufactured kid-in-jeopardy climax and Blake’s rehab stint blow the mood. Until then, this is great American acting.
  9. Anyone who has ever loved a television show can see that Thomas and his crew are working overtime to give VM aficionados everything they want.
  10. A certain Hollywood self-absorption is on display here, but the family’s depressing story merits Mariel’s vigilant defensiveness.
  11. [Farhadi and cowriter Mani Haghighi] prove to be stronger on atmosphere than on structure, aided by crisp, unnerving camerawork.
  12. Easily the most gracefully performed grief-porn you'll see this season.
  13. The Way Back then takes its time, creeping through gorgeous locations in Bulgaria, Morocco and Pakistan, and basically feeling like a two-hour-plus version of the desert scene from "The Good, the Bad and the Ugly."
    • 82 Metascore
    • 60 Critic Score
    Those reunions are not always happy ones—one relative claims that his nephew would be less trouble dead — but they offer a brief, striking glimpse into the situations that make such a organization necessary.
  14. Cigarettes are sucked hungrily by all involved, old and young, in the trashscape of this depressing Australian crime film - a movie that heaps so much dank atmosphere on its suburbanites, you can't help but sigh with relief when events turn to serial killing (finally?).
  15. There's just enough uncut truth and soul in Fishbone's story to keep die-hard Boneheads skankin' to the beat, even if it's just for nostalgia's sake.
  16. Her (Steen) emotional acrobatics are reason enough to sit through Applause's parade of pain, though it's a movie to admire rather than enjoy.
  17. Overambitiousness can turn a valentine into hot air and white noise, but it can also serve as a calling card for an artist finding his pitch—and Nance is indeed an artist, pure and simple.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. What you will find is a film that toggles between impressive fury and a kind of made-for-TV blandness that does Nat Turner’s 1831 uprising — still controversial — no favors.
    • 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.

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