Time Out New York's Scores

  • Movies
For 2,618 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 A Separation
Lowest review score: 0 Vampires Suck
Score distribution:
2,618 movie reviews
  1. It's supremely annoying to see the ups and downs of romance reduced to archer-than-arch line readings and bloodless mortal kombat. What's more frustrating is that the film, adapted from Bryan Lee O'Malley's popular comic, is an endless visual delight.
    • 45 Metascore
    • 40 Critic Score
    The gallery of eccentric ex-lovers provides a few yuks, but the fact that the film's trajectory sees going from sexuality-owning independence to conventional respectability as a quantum leap is remarkably depressing, even if Angela's final resolve complicates such an easy progression.
    • 51 Metascore
    • 40 Critic Score
    Luisito (Perez) is the only vegetarian butcher working in the Dominican Republic-which may, alas, be the only original aspect of this well-intentioned, well-worn revenge saga.
  2. Impassioned, but wearisomely didactic, diaspora drama.
  3. The performance sequences feel intimate and exhilarating-but in the end, Li's journey is compelling only when he's onstage.
  4. Marvel at the desperate spectacle of three comic leads-Aniston, Bateman and Watchmen's Patrick Wilson as the original donor-being outperformed by the wide-eyed Robinson, a quiet collector of silences. These stars will never be as young as he is; you wish they'd all stop trying.
  5. There's no sense of the oppression France felt under Nazi rule. It's all just play-acting in period-specific attire. You can almost hear the AD calling lunch.
  6. Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
  7. At the very least, this mush pot reminds us that countries other than ours also produce melodramatic mediocrities.
  8. Just because you tart up a typical romantic comedy with trash talk doesn't make it edgy or real.
  9. The girls are worth rooting for, but their pursuit is secondary to one sorry-ass dude's redemption. That's a win?
    • 57 Metascore
    • 40 Critic Score
    There's one crucial lesson that Baker hasn't absorbed, however: Don't get too caught up in plotting, especially when it involves a man warming to an unwanted child.
  10. Despite the subtitles, it's basically a slice of formulaic Hollywood-style mythmaking, writ large and woefully empty.
  11. Here's a film that definitely wants to play Hollywood dress-up.
  12. The stylistic conceit of keeping us entirely with the clones (so that we are as ill-informed as they are and never get to meet their powerful oppressors) only reveals what an empty-headed abstraction this tale was from both page and frame one
  13. There's more than a few things off in this tale of a disillusioned professional thief (Affleck, dull), his unlikely inamorata (Hall, wasted) and the determined FBI agent (Hamm, solid) out to apprehend him.
    • 64 Metascore
    • 40 Critic Score
    Hoffman predictably knocks a familiar role out of the park (and just as unsurprisingly, wrings excellence from his performers) in this rather trivial, downbeat four-hander about a working-class couple trying to connect during a Gotham winter.
  14. A dog in wolf's clothing, Lionsgate's drab, anthropomorphic animal saga does little more than reconfirm the preeminence of Pixar.
  15. The script, credited to one Bert V. Royal, seems to have been run through an out-of-control sass machine (seriously, it'll make you appreciate Diablo Cody's tact).
  16. The Freebie grimly reaffirms the status quo, concluding it's better to have no sex at all than to forsake the Ikea-furnished domestic dream.
  17. This behind-the-curtain portrait winds up revealing only the most superficial-and glaringly obvious-of truths.
  18. Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
  19. Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
  20. Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
  21. Everything from the direction of actors to the dialogue signifies the work of a filmmaker who favors easy audience-baiting reactions over dramatic momentum. Doesn't the man who would later teach Bruce Lee how to kee-yah deserve better than a chopsocky Punch-and-Judy show?
    • 30 Metascore
    • 40 Critic Score
    Who knew entering a belated adulthood could be so easy-and so utterly joyless?
  22. It's a functional sequel, but with all that spirited slicing and dicing, the director could have at least broken a sweat.
  23. Material like this doesn't require the additional strain of overnarrated freeze-frames, a "Cuckoo's Nest" supporting cast of adorable crazies and a Glee-ified musical number set to Queen and David Bowie's "Under Pressure."
    • 39 Metascore
    • 40 Critic Score
    Brittle, workaholic and bitterly single does not a Kate Hepburn make, and in this latest screen iteration of The Taming of the Heigl, she doesn't stray far enough from her standard rom-com shtick.
  24. There's only one thing worse than a leaden moral fable that tackles issues of forgiveness with sledgehammer contrivances, and that's one that attempts to mask its manipulative corniness with an air of trumped-up gravity.

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