Time Out New York's Scores

  • Movies
For 2,784 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 Daisies (1966)
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. While these ninnies' antics and banter are remarkably entertaining, the quality of the satire depends on when the movie is sending up ludicrous extremist logic and when it's just engaging in repetitive buffoonery.
    • 57 Metascore
    • 60 Critic Score
    Fulkerson's out to tweak the medical establishment, as well as offer dietary tips, and his film makes effective use of case studies and graphs to build a convincing, if inevitably simplified, argument for better living through fresh produce.
  2. Those euphoric moments, scored to Black Sabbath, show the brothers sneaking out in their masks, discovering activism and growing into individuals. You’ll wish Moselle had started, not ended, there.
  3. It probably would have helped if Walker (who credits two other codirectors) had chosen just one of those avenues for deeper study; her doc has a vertiginous way of feeling arty and ephemeral at one moment, humane and maybe too earthbound the next.
  4. Once the murderer starts relying on the lad’s kindness, all the preceding kid stuff starts to take on a purposefully sour tang.
  5. Two monologues-one in which the Hobo compares himself to a bear, the other a Travis Bickle–like screed delivered to a roomful of increasingly distressed babies-are damn near Shakespearean. It's a shame the performance is contained in a Z-movie patchwork that's a bit too knowingly repugnant.
  6. There's so much right with Gareth Edwards's low-budget alien invasion tale that you almost want to brush aside everything that's not up to snuff.
  7. You just wish the moviemaking were as consistently graceful and momentum-fixated as the film's rail-grinding subjects.
    • 61 Metascore
    • 60 Critic Score
    The second in a proposed self-reflective doc trilogy, director Doug Block's embarrassingly honest follow-up to "51 Birch Street" (2005) is a neurotic, occasionally poignant rumination on his teenage daughter doing just what the title says.
  8. The gorgeous cinematography and generosity to Plummer’s emotive gifts almost make up for the mumbo-jumboness of it all. Almost.
    • 59 Metascore
    • 60 Critic Score
    Ultimately Miss You Already feels like chick lit for the big screen: a frothy, contrived confection with careful doses of sexy, silly and sad. But those sad bits will get you in the end.
  9. Moment to moment, the film is gripping and beautiful to behold (props to cinematographer Masanobu Takayanagi for the mesmerizingly grainy, achromatic visuals). But caveat emptor to those expecting a hinterlands gloss on "Taken" with rapacious curs in place of nefarious Albanians.
  10. The result may occasionally be more of a journalistic scrapbook than a Wisemanian all-points portrait, but the impact of seeing such unvarnished public activism in the raw can't be overestimated.
  11. The sincere director, Oliver Schmitz, injects too much movie into his movie; life (above all) would have been enough.
  12. Guerrero's handling of the bond between these two teens feels too coy by half; the film thankfully resists being either a typical coming-out movie or an ethnocultural curio, but it doesn't offer much insight into the twosome's attraction, platonic or otherwise, to each other.
  13. What begins as a tense, inventive suspense film becomes, to paraphrase Doctor Who, a wibbly-wobbly, timey-wimey, mushy-wushy mess. That's decidedly NOT fantastic.
  14. Even though Unfriended begins to cheat, springing loud noises and gory cutaways that can’t be explained, there’s a rigor to its dopey, blood-simple conception that you might smile at.
  15. Ignore the documentary's regrettable low-rent look and that kitschy "Love, American Style" soundtrack, and just focus on how this portrait turns a work of art into a sociological flash point.
  16. Trumbo goes for a tone that’s more scrappy and inspirational, as this ousted ex-A-lister enlists his kids as couriers, builds a network of collaborators and wins two Academy Awards undercover.
  17. Such a feature-length bludgeoning, even in the service of basic social and scientific literacy, is truly discomfiting.
  18. None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
  19. While Transcendence has tons of money to spend on unpersuasive digital effects and dronelike music, it shows little interest in exploring the potentially tricky benefits of a computer-enhanced intellect; it’s not even in the enjoyable realm of starkly ridiculous Cold War thrillers like "Colossus: The Forbin" Project.
  20. Mostly laugh-free black comedy, which gathers an impressive cast - Marisa Tomei, Jennifer Connelly and Ciarán Hinds round out the ensemble - for bad sitcom-level shenanigans.
  21. While Shapiro does a fine job of emulating kink classics like "Blow Out," his film lacks one element that De Palma wouldn't have been caught dead without: a sense of humor.
  22. Set mostly in modern-day Shanghai and involving two other girlfriends (also Li and Jun), this parallel plot feels less like an attempt to broaden the book's horizons than to cash in on "Joy's" cross-generational appeal while doubling down on cheap-shot melodrama.
  23. Brühl, meanwhile, is saddled with the unenviable task of being this hollow movie’s slow-dawning voice of reason: His climactic conversation with newspaper editor David Thewlis (never worse) is one of the most embarrassingly didactic Way We Live Now™ summations ever filmed.
  24. It's just another franchise nonstarter to toss in the superstore superhero deal bin.
  25. Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
  26. Weird for weirdness’s sake gets you only so far, however, and when Dupieux tries to connect all these strange goings-on to Dolph’s corporate-drone despondency, the movie takes a spurious turn toward rancid sentimentality. It seems that even a piece of dog excrement has feelings. Yuck.
  27. Both the martial arts and the slightly dull narrative patchwork are too choppily edited to gain much of a foothold.

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