Time Out New York's Scores

  • Movies
For 2,608 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Strange Case of Angelica
Lowest review score: 0 Vampires Suck
Score distribution:
2,608 movie reviews
  1. These scenes make you wish the rest of the movie had similar bite, but Gibney tends toward that dutiful doc style that mixes talking heads and archival clips into a flavorless stew—a bland complement to Fela’s zesty on- and offstage presence.
  2. Barreling toward its rapidly modernizing future, China takes Internet addiction more seriously than most nations: To watch Web Junkie, an often scary yet half-realized documentary, is to see a society trapped in its old solutions.
    • 55 Metascore
    • 60 Critic Score
    The movie’s never tastier than when screen vets Mirren and Puri are sparring, pettily buying out each other’s produce at the local market or bellyaching to the town’s mayor.
  3. There’s social satire for those who want it — don’t tell the rest of the neighborhood our daughter’s risen from the dead! — and a fine, simmering sense of apocalypse that turns this suburban community into a war zone. Still, it’s a lot of heavy lifting for what amounts to “he’s just not that into you,” mainly because you’re as ripe as a cadaver.
    • 46 Metascore
    • 60 Critic Score
    For a drama pretty much aimed at 12-year-old girls, it’s less superficial than you’d expect.
    • 65 Metascore
    • 60 Critic Score
    The film delivers on its most crucial idea by being an inventive relationship dramedy with actors who handle the dual challenge thrown at them with distinguished poise.
  4. The survey the film provides is bracing, and there are plenty of talking heads to guide us through the kaleidoscope of imagery. Unfortunately, there’s also a public-television vibe to the proceedings that mutes the overall power. It’s essential info presented with little imagination.
  5. This one belongs to the women: As a gold-digging mistress, Isla Fisher does half-smart expertly, while Jennifer Aniston demonstrates her underrated timing as a wealthy kidnapping victim turned confidante.
  6. You don’t often see style this gorgeous (however empty), and that must count for something. Groovy soundtrack cues by Ennio Morricone and others do the heavy lifting.
    • 58 Metascore
    • 60 Critic Score
    The whole phantasmagorical enterprise is so sweetly confident that it just about gets away with its entirely casual approach to believability.
  7. Ed Harris is a performer made for Westerns, and he’s perfectly utilized in debuting director Michael Berry’s middling if still very watchable modern-day oater as Roy.
  8. Dank with the effluvia of a proudly unhygienic, sex-obsessed German teen, this frenetic adaptation of Charlotte Roche’s notorious 2008 best-seller is a standing dare to anyone who thinks the movies have gotten too tame.
    • 58 Metascore
    • 60 Critic Score
    Despite the sparkling cast and engaging, well-tuned turns from Chastain and McAvoy, the scaled-down script doesn’t carry much weight, bogged down by clunky, Hallmark dialogue.
  9. Until the movie's cathartic showdown (and a few backstory revelations that impress too late), The Drop putters along in a dozy register, less a simmering pot than a cooling one.
  10. It helps that Milo (Hader) and Maggie (Wiig) are cranky adult siblings, sharing a whip-crack shorthand that longtime skit partners know how to muster effortlessly.
  11. The Israel-Palestine conflict is reduced to a crystalline, though still complicated, essence in Nadav Schirman’s alternately tedious and engrossing documentary.
  12. You can’t help but feel all the palpable joy is eliding some darker realities that would lend the copious musical performances a deeper resonance.
  13. The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
  14. Both overindulgent and the writer-director's most fascinatingly strange movie to date.
  15. There’s no real pleasure in any of the musical performances. And when married to the scenes exploring Hendrix’s tumultuous personal life—particularly his semi-abusive relationship with long-term girlfriend Kathy Etchingham (Hayley Atwell)—you’re left with a monotonously grim portrait that’s more rewarding in theory than execution.
  16. For a while it’s a low-key fish-out-of-water comedy (with McDonald’s as one of its many obvious punch lines), then it morphs into a cumbrously sentimental tale of redemption.
  17. For all its surface effectiveness, however, The Blue Room never quite makes that intangible leap into greatness. It’s a phenomenally executed exercise that, like its protagonist’s memory, is too wispy for its own good.
  18. Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.
  19. St. Vincent has nothing on Rushmore, an obvious forebearer, even though it strains for the same egalitarian spirit of thrown-together family, one that includes a pregnant Russian stripper (Naomi Watts) and a sympathetic but firm Catholic schoolteacher (Chris O’Dowd).
  20. Seeing as how Kill the Messenger comes down firmly on the side of Webb’s truth, it’s unfortunate that his discoveries are only confirmed via the end credits. Missing from the action, too, is the merest hint of our hero’s demise by suicide in 2004. These aspects should have been better showcased; as is, it’s not the whole story.
  21. The movie’s admirable fleetness, however, doesn’t mitigate some of its narrative errors — Alexander’s opening voiceover suggests his family is totally oblivious to his role in their misery, which is disproved by a later scene — nor does it counteract an overall sense of slightness that prevents this from being a family-film classic.
  22. The early scenes of Gabe Ibáñez’s impressively mounted but uneven thriller do some terrific dystopian world-building.
  23. Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
  24. Diplomacy’s origins as a play (written by Cyril Gely and starring the same actors) are always evident. Despite Schlöndorff’s attempts to give the movie some pop through widescreen lensing and noirish lighting, it’s a visually staid affair—very “filmed theater.” Fortunately, both Arestrup and Dussolier are captivating presences.
    • 50 Metascore
    • 60 Critic Score
    Fanning manages to bring soulfulness to a character who mostly reacts to others; you just wish the whole movie were, well, jazzier.

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