Time Out New York's Scores

  • Movies
For 2,659 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Mauvais Sang
Lowest review score: 0 Vampires Suck
Score distribution:
2,659 movie reviews
  1. Maybe Douglas Sirk could have made something profound out of the pseudo-ennobling horsepucky. As is, The Last Song is what the crinkle-nosed Southern belle in all of us would resoundingly deem “Trash! Trash! Trash!”
  2. If its juxtaposition of bad behavior and dairy products leaves you stone-faced or wearily sighing, you should exit the theater posthaste.
  3. For those of us with a love of actorly indulgence, though, the film is a treasure trove, filled with enough molten-gold performances to gild a thousand Oscars.
  4. Third times are rarely charms in the movies, much less fourth go-rounds, and it takes more than ho-hum 3-D and video-game-ready action sequences to liven up diminishing returns
  5. What undoes the film is its rather rancid parent-child sentimentality (a Shyamalan staple, admittedly) and a charisma-free performance from the younger Smith that suggests the apple has fallen very far from the tree.
  6. Capital ends up being neither a high-stakes thriller nor a cutting commentary on real-world bad behavior. It’s just CEO exotica, all dressed up with nowhere to go.
  7. At least Mark Ping Bing Lee’s luscious cinematography distracts from the shallow storytelling. There are worse things than luxuriating in a two-hour Côte d’Azur travel ad.
  8. The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."
  9. Brando-wheezing Gandolfini never slums it, but there’s still no shaking the sense that a pro has shown up for amateur hour.
  10. Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.
  11. Documentarian Anailín Lucy Mulloy’s eye for the decaying textures of modern Cuba on the ground is sharp, and there are passages—as the dull characters mope and kill time and work up snits—in which you wish the movie were simply nonfiction. As it is, everything feels fake except the Centro Habana barrios themselves.
  12. The novelty of their industry aside, there's little to differentiate this from any other relationship-centered Amerindie.
  13. The set pieces are grand—gloriously dumb and never realistic enough to make you wince at the fact that billions of microscopic souls are dying before your eyes. Rather, you wince at everything else.
    • 53 Metascore
    • 40 Critic Score
    It's a rebound-romance movie that's simplistic but sweet, an uncomplicated cinematic bonbon. It'll only take a few quick bites, however, before you'll be ready to move on to something meatier.
  14. The razzle-dazzle can't distract from the monotonously overstuffed spy-film plot.
  15. Good policy does not ensure good drama; Gerrymandering summarizes an urgent issue but forgets to detail the true fallout.
  16. A tepid rom-com, replete with a nostalgic Bangles tune.
  17. Even the admittedly thrilling gameplay footage and time-capsule news reports are couched in contexts that seem crudely sketched out.
  18. Fresnadillo, working with screenwriters Nicolás Casariego and Jaime Marques, might be angling for the same YA fantasy as "Pan's Labyrinth," but they've forgotten about that film's violent underpinnings, a mistake that leaches their movie of suspense.
  19. Only Andrea Riseborough comes close to rising above it all, and even she’s undone by what may be the crassest climactic slo-mo montage ever. The lucky will have logged off by that point.
  20. The Fifth Generation filmmaker has aced such recipes before (e.g. The Emperor and the Assassin); this time, both the spectacular and the human elements have apparently been offered to the gods.
  21. The movie leans on symbolic imagery that’s alternately tired and ridiculous: Hunt’s impatiently flicked cigarette lighter (yes, he’s a candle waiting to be lit) or a black-widow spider crawling up the stands of one particularly dangerous course. These are classic frenemies; their tale deserves more gas in the tank.
  22. Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.
  23. Gerwig is plenty charming, considering the rote stuff she has to work with. Yet this still feels like a real devolution - hopefully short-lived - after her distinctively eccentric turns in "Greenberg" and "Damsels in Distress."
  24. Favreau's direction is so boulder-heavy-the action sequences, especially the climactic assault on the alien mothership, are an eye-and-ear-shattering mess-that the small moments of poetry...are lost amid too much digital sound and fury.
  25. Even though the Bello-Hurt thread is unconvincingly brought up to date at the end, this inside-out movie gets good mileage out of letting us watch characters watch each other.
    • 67 Metascore
    • 40 Critic Score
    Children of Invention seems furiously scribbled in shorthand, undermining what it has to offer in contemporary resonance.
    • 62 Metascore
    • 40 Critic Score
    Newlyweeds looks and sounds primo. Storytelling-wise, however, it’s more than one toke over the line.
  26. There’s little of the Church’s perspective in this doc, but you can’t really fault the filmmakers--Mormon leaders refused several overtures to participate. Read more: http://newyork.timeout.com/articles/film/86550/the-mormon-proposition-film-review#ixzz0r2j38wUF
  27. Madden pads the film with shimmering images of Jaipur and its surroundings; a midmovie funeral sequence - 'cause somebody's got to kick the bucket! - even manages to be somewhat evocative and moving. The rest makes you long for senility to set in, but quick.

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