Time Out New York's Scores

  • Movies
For 2,956 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: 56
Highest review score: 100 The Lost City of Z
Lowest review score: 0 Vampires Suck
Score distribution:
2956 movie reviews
  1. With so many ideas to work with, why does Bell infantilize her elsewhere-confident main character as yet another disheveled woman-child?
  2. You can barely stifle a laugh, and the way Wright and Watts deliver rote, morally searching dialogue with deer-in-the-headlights stoicism (“We’ve crossed a line,” Lil blankly notes) doesn’t help matters.
  3. With his sophomore feature, "Tony Manero" (2008), filmmaker Pablo Larraín gave us both a memorably maniacal main character and a black-joke metaphor about the free-floating psychosis wafting through Pinochet's Chile.
  4. Though there’s no shortage of biographies on the notoriously private writer, no one has had the stones to try making a comprehensive visual documentary on someone as camera-aversive as the Catcher in the Rye author. The effort itself should be applauded.
  5. These filmmakers got halfway there, but Carpenter's genius was about more than just a look.
  6. Barely over an hour, the sketch feels lovely, unhurried and a bit insignificant. That may be your definition of cinema, but if you've hired a babysitter, this isn't the film for your date night.
  7. If the story were more arresting, and the filmmaking more original, then the notions of post-9/11 assimilation might be more compelling. As it stands, the movie just serves up another warmed-over Ellis Island rehash.
  8. Proving that a comedy’s performers are sometimes more important than its jokes, this remake of Frank Oz’s dreary 2007 British farce of the same name livens up the proceedings by subbing in a comic African-American all-star cast.
    • 65 Metascore
    • 60 Critic Score
    This quiet, deliberately paced documentary favors interviews over fly-on-the-wall footage, but one interruption of an on-camera talk by armed soldiers is a potent reminder of how precarious the lives of this population can be, and how the perseverance of its characters represents a strikingly female display of strength.
    • 55 Metascore
    • 60 Critic Score
    wWen the filmmaker lines up her characters to confront their respective fears of intimacy, the loosey-goosey vibe clashes with the script’s clunky machinations; like her characters, Shelton doesn’t know what to do when things actually happen.
    • 53 Metascore
    • 60 Critic Score
    The School of Rock funnyman flies highest; passion, be it for rare birds or the Yardbirds, is a plumage he wears wonderfully.
  9. It’s a reasonably diverting piece of work, falling somewhere between the high of "Magic Mike" (2012) and the low of "Haywire" (2011), among his recent efforts.
  10. Hellion aims to cut deep, striking a tone that melds the hysterical moralism of Larry Clark’s Kids (1995) with the coming-of-age melancholy of Mud’s Jeff Nichols (also this film’s executive producer).
  11. The film captures a few surprising similarities to the West: One dead-eyed club kid says she’s “tired of everything,” while a hopeful young actor seems to be trying out for her own reality show, breaking down in front of her estranged mother. The experiment isn’t more than a slice of life, but at least it’s a generous one.
  12. If anything distinguishes director Régis Roinsard’s take on well-trod material, it’s his Technicolor-bright widescreen palette (recalling many a late-’50s pillow-talk romance without a hint of snooty irony) and energetically game cast.
  13. The perfectly sculpted, entirely sure-of-himself Tom ultimately seems more of a construct than a character, his carefree nature shaped almost entirely by the very wish-fulfillment clichés that the movie otherwise sidesteps.
  14. The aural and visual overload that marks most of the director's work is here in spades--few documentaries look and sound so distinctive.
    • 76 Metascore
    • 60 Critic Score
    This is a more rugged affair than, say, "Frozen," and any admirers of that film might find themselves yearning for a few more songs and a little less testosterone.
  15. The Rover is almost worth it for the coiled central performance of Guy Pearce, who outfuries Mel Gibson with his pinpoint shotgun skills and monomaniacal quest.
  16. No performances stand out, which is a shame given Affleck's track record with actors. Ultimately, it comes down to a chase to the airport, with a scary Revolutionary Guardsman at the gate.
  17. The Best and the Brightest's sharp one-liners and strong cast, especially McDonald's gleefully lecherous performance as an unabashed Republican pervert, help make it a sturdy bit of subculture-tweaking silliness.
  18. There's some magic in the grab-bag method, but with all the furious wand-waving, the story itself never gets to cast much of a spell.
  19. Photographed with an alluring sheen that complements the coldly commercial wheelings and dealings of its subjects, Red Obsession fascinatingly reveals how Old World vintner artistry is being shaken up by New World supply and demand.
  20. Messina and Ireland thrive under that gaze, and dismaying affectations aside-the characters go needlessly unnamed - the movie articulates the enduring allure of a love defined, and heightened, by restrictions.
  21. "Rosemary's Baby" it's not, but color us stoked that a Twilight movie even strays into evil-fetus territory.
  22. What starts as a flipped survival tale turns into historical tragisploitation that wallows in its slog of endless suffering.
  23. Whereas Yuen's speciality has always been gonzo, gravity-defying spectacles, now he's spiced his set pieces with plasticine computer-generated flourishes-effectively puncturing the inventive, handmade charm and fluid flurries of artistry that made his classic fight scenes so thrilling.
  24. Burton, as usual, is great on atmosphere and comic timing (these are his weirdest moments since Ed Wood), but less so at reining in an overcomplicated plot and dimly lit action scenes.
  25. Until someone delivers the definitive 360-degree chronicle on the populist uprising, this collection of dispatches from the front is the best primer you could hope for.
  26. Walken is particularly alive in a way he's rarely been since "Catch Me if You Can," adding untold shades to Hans's mystery-shrouded past - wait until you see what's under his cravat - while still giving his singularly eccentric line readings.

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