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 Summer Hours
Lowest review score: 0 Vampires Suck
Score distribution:
3001 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. Saving Mr. Banks turns Travers’s tense collaboration with Walt and his team of Imagineers into — naturally — a schmaltzy journey of closure, climaxing in a teary screening of the finished musical.
  4. You'd follow these two anywhere - even down a long, winding and perilously close-to-pointless road.
  5. Resident turned filmmaker Ryan McGarry sometimes displays shrewd instincts for hardheaded vérité — there’s compelling stuff here, even if you shear away his occasional stabs at issues of bureaucratic overcrowding and corporate cost-cutting at the expense of intimacy.
  6. The mood of this movie will brew with you for a while, even if it swirls around characters who aren't quite persuasive.
  7. Farmiga persuades as a kooky monster of a matriarch, while Javier is an ideal vessel for Duchovny's laconic line readings (he's grown into an even more deadpan Bill Murray). Goats may cover an all-too-familiar terrain, but at least it grazes it well.
  8. With so many ideas to work with, why does Bell infantilize her elsewhere-confident main character as yet another disheveled woman-child?
  9. 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.
  10. 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.
  11. 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.
  12. These filmmakers got halfway there, but Carpenter's genius was about more than just a look.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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).
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.

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