Time Out New York's Scores

  • Movies
For 3,034 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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Los Angeles Plays Itself
Lowest review score: 0 Vampires Suck
Score distribution:
3034 movie reviews
    • 49 Metascore
    • 60 Critic Score
    The result is not so much a documentary as an engaging, if didactic, travelogue with embedded yuks.
  1. It's especially disappointing when the story takes an inevitable turn to starry-eyed mush, dulling the sharp satire of the crazy, stupid ins and outs of romantic entanglement with an unconvincingly saccharine one-true-love-for-all moral.
  2. A smart horror film will fatten its pigs before the slaughter, and the mock doc The Last Exorcism feeds its prize hog nicely.
  3. The central idea here is as durable and effective as a well-told fireside ghost story, but in the cold light of day, the film fades.
  4. That One Lucky Elephant ultimately comes down on the side of anthropomorphizing Flora and her kind is extremely disappointing - a little clear-eyed ambivalence would have helped the film feel more focused and less like patchwork.
  5. A drama about the dirty business of gaining power, it needs bared fangs - and more bite.
  6. It's prime B-movie material put through the Ridley Scott Cuisinart.
    • 67 Metascore
    • 60 Critic Score
    Where have all the bees gone? That's the question Taggart Siegel's documentary attempts to answer by interviewing organic farmers about the phenomenon known as colony collapse disorder.
  7. Unfortunately, Kim nearly wrecks the film's observational acuteness with a climax that shamelessly steals from Bob Rafelson's classic blue-collar drama "Five Easy Pieces," and this faux-gut-punch finale feels haphazardly sutured on rather than arrived at organically. Guess that ham-fisted opening shot was a sign of things to come.
  8. A fine sense of yuppie suffocation—Spin-class listlessness and workaholic disconnection—sets up this indie as a potential suburban satire.
  9. This disappointing dramatization, mounted with generic blandness by Jean-François Richet, makes no case for the man's larger significance, nor does any emotional digging at all. Such detachment was no doubt considered artistically shrewd-it's a big mistake.
  10. Watch the director's 1976 "The Tenant," and you'll know he can do more with less.
  11. Often resembles a prime John Carpenter thriller--call it "Assault on Manger 13"--until an overcaffeinated angel-fu climax significantly lowers the intelligence quotient.
  12. The result is a film that starts with a bang and ends with a shrug, but keeps us entertained throughout.
  13. While it never hits the gritty heights of you-are-there junky journalism à la Larry Clark's "Tulsa," you still feel as if you've personally toured the abyss.
  14. More stupid movies should leave you with such a blissfully stupid smile.
  15. Deadpan clownishness is The Fairy's raison d'être and its superior mode; when the lovey-doveyness turns cloying and the atrophied message-mongering creeps in, you wish the threesome knew when to keep their traps shut.
  16. Look elsewhere if you want a linear timeline of Sebald's life or don't possess that titular virtue; everyone else will want to make a beeline to their local bookstore.
  17. The troubling turns the story takes, which are meant as a rebuke to happily-ever-after stereotypes, are much more interesting in conception than they are in execution.
  18. Francophiles understand that Vincent Lindon's presence in any film is a bonus, as few actors know how to translate sad-eyed, macho gruffness into so many different flavors.
  19. Both overindulgent and the writer-director's most fascinatingly strange movie to date.
  20. The filmmaker's work is infinitely more exhilarating when he's relieved of the need to be in any way serious. He should play dumb more often.
  21. The transformation that you anticipate never comes; the movie feels strangled.
  22. Shadows still functions as a study in superior sequel-itude, building a fine showcase for a reimagined character and the compelling, twitchy dynamo playing him. Should Ritchie ever learn to be elementary instead of epileptically overwrought, he may one day do proper justice to both.
  23. Far be it from us to deny the director his deserved catharsis or to dissuade someone from speaking out about abuse. Still, Family Affair feels less like a documentary than one man's filmed therapy marathon, to which you're voyeuristically privy in an oversharing-on-Oprah sort of way.
  24. There’s still enough of merit here (particularly a movingly low-key finale that strikes just the right note of reconciliation and regret) to suggest that Porterfield has the chops to eventually hone his talents to a fine point.
  25. The movie indulges a few too many whims, but it's never less than alive.
  26. Less deadpan spoof than loving act of possession, Black Dynamite near-fully channels the look and feel of its blaxploitation ancestors, warts and all.
  27. Cassavetes adopts a grammar that occasionally slides into parody but mostly comes across as committed style. Kiss of the Damned contributes little new to the genre save a taste for alluringly tactile sex scenes and an avoidance of gore.
  28. Though overly dependent on a roundelay of talking heads, the film escalates into an ace legal thriller, spinning a web of shame that snags everything from the Austrian government to America's most beloved not-for-profits.

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