Time Out New York's Scores

  • Movies
For 2,689 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 6.4 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:
2,689 movie reviews
  1. Like the big-budget thriller “Green Zone,” which is also opening this week, Kristian Fraga’s documentary catapults us back to the chaos of Iraq circa 2003. But instead of action figure Matt Damon, we get garish, staccato images and hard-bitten voiceover from First Lieutenant Mike Scotti.
  2. This is the same old safe, sappy movie that shows up on TBS every weekend.
  3. It goes off the rails early and often. You almost have to give it props for how resolutely batshit it is. Almost.
    • 54 Metascore
    • 40 Critic Score
    Whether it's Caplan and Webber trading goofy dance moves or Brie being perkily OCD-ridden, Date works best as a collection of winsome, unconnected vignettes; its ideal distribution model would be piece by piece on YouTube.
  4. It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
  5. The big question isn’t whether middle-aged romance will bloom, but rather, how much sub-Jarmusch deadpan humor and pathos can you take?
    • 36 Metascore
    • 40 Critic Score
    Perhaps the director is trying to show her socialites’ path to finding themselves, but her point ends up as lost as the film’s aimless hedonists; like its characters, Lotus Eaters is a visual treat—and emotionally vapid.
  6. The movie meanders like its dissatisfied, part-time pothead protagonist, not wisely but too well.
  7. The film blows up a minor aspect of the New Wave to foolishly apocalyptic proportions, substituting gossip for gospel.
    • 38 Metascore
    • 40 Critic Score
    The keenest irony is that Imogene’s fake suicide note is the most convincing thing she’s ever written — which makes perverse sense since Girl Most Likely is DOA.
  8. For a movie with a critique of mediocrity well within its grasp, this one settles for an embrace of it, barely breaking a sweat.
  9. The whole movie feels like a case of the sweats, putting you in desperate need of the chicken soup of recognizable human behavior.
    • 60 Metascore
    • 40 Critic Score
    Madagscar 3 is less interested in plucking the last bit of meat off the series's bones than with simply picking the lowest-hanging fruit.
    • 43 Metascore
    • 40 Critic Score
    Essentially an overlong, off-brand episode of Curb Your Enthusiasm.
  10. Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
    • 28 Metascore
    • 40 Critic Score
    Ultimately, the silly material overwhelms the style, particularly in a final act involving magical hillbillies living in them thar hills — during which the movie attempts to make a serious point about the importance of faith in the midst of a lot of bad teeth, worse wigs and cheap jolts. Right.
  11. A soundtrack of churning rock songs by the Kills is as close as this misfire gets to authentic grrrl power, borrowed as it is.
    • 18 Metascore
    • 40 Critic Score
    Whatever possessed Bell & Co. to turn a slow-burning creepfest into a frenzied freak show of multiple exorcisms (including one in a moving car), the devil only knows.
  12. What was Clint thinking? (Or Martin Scorsese, when he made "Shutter Island," for that matter.)
  13. One would be better off experiencing Woodley via her heartbreaking turn in last year's "The Spectacular Now," a drama that actually has more to say about nightmarish cliques and individuality than any lackadaisical slide into future schlock.
    • 34 Metascore
    • 40 Critic Score
    Given Maxwell’s dry style and fixation on 19th-century vernacular, the result is less like a peering examination of the turbulent political environment than a reenactment of a Ken Burns documentary—or a museum tour.
  14. A set piece involving a skyscraper and a sports car proves he can induce sweaty palms, but one nail-biting moment and some much-misssed Murphy mouthiness won't keep you from feeling like you're the one being ripped off.
  15. It’s a shame that Toe to Toe adheres so stridently to Indiewood clichés.
  16. This story is both uplifting and awe-inspiring. It deserves to be told better.
  17. 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!”
  18. If its juxtaposition of bad behavior and dairy products leaves you stone-faced or wearily sighing, you should exit the theater posthaste.
  19. 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.
  20. 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
  21. 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.
  22. 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.

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