Time Out New York's Scores

  • Movies
For 3,019 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 The Headless Woman
Lowest review score: 0 Vampires Suck
Score distribution:
3019 movie reviews
  1. Even if you remove the questionable quasi-religious touches, Flight doesn't quite soar past its narrative limitations. There's plenty of virtuosity to go around here - just precious little transcendence.
  2. Comparable works like John Gianvito's "Profit Motive and the Whispering Wind," or nearly anything from cine-essayist Chris Marker's oeuvre, mine similar territory much more rewardingly.
  3. The problem here, though, is that the movie often feels fat instead of lean. A terribly purple folk score by Kate and Anna McGarrigle hypes the spiritual aspects of the Inuit way of life; you’ll die laughing on the tundra.
  4. The director's righteous anger is less restrained than his conventional vérité aesthetics and less off-putting than his one-sided approach to the issues at hand - an advocacy for alternative wind-turbine energy is suspiciously sketchy - yet he smartly allows coal-exploiting bigwigs plenty of screen time to properly hang themselves.
  5. The movie ultimately feels both too glib and too hermetically sealed to resonate beyond its chaotic interiors.
  6. What does resonate is how the film captures McCartney in laid-back ambassador mode, walking around in midtown and turning big names into awestruck fanboys.
  7. When the movie remembers to be the drug-spiked, hard-R comedy you hope for, it’s more than just a fun romp (and, incidentally, superior to "Forgetting Sarah Marshall," the rom-com from which its Britpop libertine spins off).
  8. For all of Dead’s beards and dirtiness, you never get over the feeling that you’re watching modern actors play frontier-drama dress-up. It’s a deathblow.
  9. A Matrix Reloaded–like cliffhanger reminds that this is only the second installment out of four (good lord), but at least the flick leaves us with more than a tinge of interest in whom the odds will favor next.
  10. Begins in the land of lunacy and ends up somewhere on the far side of deranged.
  11. Had the big boy himself, Steven Spielberg, made his directorial debut with this slam-bang sci-fi thriller set in suburban 1979 (and not merely produced what amounts to an homage), he would have been celebrated as a gifted bringer of mayhem: a Michael Bay before there was one.
    • 64 Metascore
    • 60 Critic Score
    The underwater scenes of Sawyer playing with the dolphin are gorgeous, a cinematic daydream of interspecies connection.
  12. Even with the actors’ laudable work—especially Simm, who finally shakes off the notion that he’s a poor man’s Simon Pegg—there’s not enough going on past the temporal trick to make the humanistic elements pop. Gimmick aside, the title is regrettably apropos.
  13. The latest addition to the booming library of docs archiving the Nixon-Nam era, this magnetic pop-history memorial has everything: free sex, celebrity, psychedelic rock, polygamy and beyond.
  14. The rousing speeches and booming battle scenes are all well done as far as blockbuster spectacle goes, but you can't help but feel the filmmakers' resistance to the story's grimmer undercurrents.
  15. This recut version appends a new interview with Polanski and Stewart, returning to the same hotel room to wax nostalgic. Essentially, they liked going fast and big; this film feels slow and minor.
  16. Whatever the film’s virtues, subtlety was never going to be one of them.
  17. As with so many modern fantasy films, the sequences here seem designed to go viral on YouTube in a flash of coolness, not necessarily linger in the mind or heart.
  18. The film is weak on its essential indictment, vaguely suggesting a mood of battlefield boredom without quite pinpointing the pathology that would lead military men to squeeze the trigger pell-mell.
  19. All the retroactively enlightened symbolism gets monotonous, and reaches an absurd apex with the introduction of a party-line newspaperman played by that scowling emblem of Teutonic depravity, Ulrich Tukur.
  20. You’ll leave knowing slightly more about the who, what and why of WikiLeaks; you’ll also wish the whole shebang didn’t fell like such a tone-deaf data dump overall.
  21. This is still a fascinating history, especially when Limelight touches on the club scene's dark side: A lengthy dissection of the Angel Melendez murder, complete with an appearance by weathered-looking killer Michael Alig, chillingly shows how the out-all-night lifestyle can take its toll.
  22. A marvelous thought, credited to Orson Welles: You can handle shit with velvet gloves, but the gloves only get shittier; the shit doesn't get glovier. As wondrous as the regal Helen Mirren can be, it's a sad day when her queenly demeanor gets dunked in doo-doo.
    • 59 Metascore
    • 60 Critic Score
    Jones writes herself a couple of powerful scenes and plays them well, but she and director Lee Toland Krieger don't find many memorable uses for Samberg as her blandly schlubby hubby.
  23. The film's sociopolitical critique is as dull as a sledgehammer - and maybe on the money - but the truth is far more entertaining.
  24. It's almost worth wading through the wearisome setup to get to the fun stuff. But there is a reason fast-forward buttons were invented.
    • 38 Metascore
    • 60 Critic Score
    Despite a schmaltzy original score and some clunky direction, the film's well-portrayed characters and spot-on depiction of the scene make this a pleasant enough romp.
  25. The most heart-wrenching thing about the film is watching Fanning’s transformation from idealist to wreck, the father’s free-thinking daughter turned into the mother’s double in the space of a dinner argument. It’s not quite enough for a film, but it is for one magnificent scene.
  26. The film's numerous idiosyncrasies - virtues at the outset - ultimately suffocate it.
  27. The story's half-baked environmental themes become more prevalent as Letters from the Big Man progresses to its back-to-nature finale, which unfortunately distracts from Munch's consistently sure hand with his actors.

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