Time Out New York's Scores

  • Movies
For 2,696 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Social Network
Lowest review score: 0 Vampires Suck
Score distribution:
2,696 movie reviews
  1. The funny thing? It all works reasonably well, especially if you have a yen for the urbane register of city kids and their amazingly cool parents.
  2. The film’s tendency to wax sentimental occasionally undermines its authority, but you won’t find better behind-the-scenes looks at the era’s mouse-eared power struggles or at the making of modern Disney classics.
  3. There's too much going on here - of a winning, thoughtful nature - to dismiss Josh Radnor's back-to-college romance as the nostalgia bath it mainly is.
    • 76 Metascore
    • 60 Critic Score
    While the frequent recourse to talking heads burdens the documentary with a choppy cadence, directors John Haptas and Kristine Samuelson manage to offer moments of great humor.
  4. Too many digital effects ruin the spell of a tactile world of evil objects scheming your demise. But even a mediocre FD is better than more Jigsaw.
  5. The ugly Americanism gets piled on thick - racists, dickwads and ignoramuses, oh my! - but there's a melancholy to this indie's cross-cultural explorations and communication breakdowns that compensates for the broader swipes.
  6. The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
  7. The film never finds the right mix of the epic and the intimate - the personal as seen through the 20th century's Euro-geopolitical turmoil - that it aims for.
  8. Tuschi leans too far into an admiring position, and you thirst for some commonsense critique. It's all a bit rich.
  9. Al Pacino’s done so much Acting over the last 25 years (hoo-ah), it’s disquieting to see him digging deep again—often with subtlety—into a rich role with hidden depths.
  10. Director Sam Garbarski’s focus occasionally skews narrow, but he does evoke the anxiety of reconciling a strict faith with secular times.
  11. As brought to life in the stentorian tones of Ben Kingsley, the curator comes off like a driven visionary, but his actual efforts aren't dramatized enough. The paintings speak more articulately: doomy, dank colors and oppressive shapes.
  12. Breathtaking imagery competes with a scary lack of human interest in this hypnotic, potentially alienating documentary.
    • 58 Metascore
    • 60 Critic Score
    Aguirre is a find—she has none of the precociousness of the typical screen tween—but the movie’s magical-realist elements don’t jibe with the unstudied naturalism of her performance.
  13. Weaknesses from the original remain, including a mustache-twirling villain straight out of a Bond film (Sharlto Copley) and a Freudian master plan that unravels the more you think about it. Give credit to Lee for staying fresh, even if this feels like slumming.
  14. The film's sure-to-be-brief theatrical release is a mere stopover on the way to basic-cable eternity.
  15. While veteran director Fernando Trueba (Belle Epoque) and writer Jean-Claude Carrière don’t bring much novelty to the May-December/muse-artist/naked-clothed cliché, they do imbue the material with genuine feeling—exploring the melancholy of waning days and a defiantly naive belief in artistic transcendence.
  16. Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.
  17. 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.
    • 60 Metascore
    • 60 Critic Score
    Bold performance or not, you can see history weighing heavily on Elba’s shoulders (in later scenes as an older man, you can see the makeup, too).
  18. Antal and his performers’ pure B-movie esprit is undeniable.
  19. Combining the knowingly arch style of Abbas Kiarostami (whose "Certified Copy" towers over and belittles this film) with the didactically educational passion of your favorite art professor, La Sapienza alternately feels like a self-reflexive love story or a haunted history lesson—its best scenes play like both.
    • 64 Metascore
    • 60 Critic Score
    If nothing else, Ruedi Gerber’s celebratory portrait of Anna Halprin--a postmodern-dance pioneer and Gerber’s former teacher--is a fascinating testimonial to the healing, age-defying powers of both her art and artistry.
  20. Simply skip the first part entirely: "Killer Instinct" bulges with a disconnected jumble of nightclub attacks and fence-clipping escapes you've seen better elsewhere. Yet a tide change happens with the superior Public Enemy No. 1, which takes the subject's raging ego as its cue.
  21. Tony Scott almost wins us over with this fun thrill ride.
  22. Spring isn’t coy about the fact that Louise is harboring a dark secret, and the film’s appeal is rooted in its refreshing eagerness to focus on aspects that most monster movies would think too human.
    • 71 Metascore
    • 60 Critic Score
    It’s an adoring portrait — almost cloyingly so — with an emotional soundtrack that grates a little.
  23. Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
  24. It exists in fits and starts: a Blade Runner–esque moment of rainy contemplation on a hotel balcony; some weird sexual tension with a lizard girl (statuesque Svetlana Khodchenkova) who steals away Wolverine’s healing powers.
    • 60 Metascore
    • 60 Critic Score
    It's a winning farce, if one that's far too broad.

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